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Twenty-five Years 


of the 


Philadelphia Orchestra 


Tgo00-1929§ 


By 
Frances ANNE WISTER 


PUBLISHED UNDER THE AUSPICES OF THE 
WOMEN S COMMITTEES FOR THE PHILADELPHIA ORCHESTRA 





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PRINTERS AND ENGRAVERS | 
PHILADELPHIA 
A eta , THE GETTY RESEARC 


INST.TUTE LIBRA 


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TO 
ALEXANDER VAN RENSSELAER, Esa. 


DEVOTED TO 


THE CAUSE OF MUSIC IN THIS CITY 
AND 
FIRST AND ONLY 


PRESIDENT 
OF 
THE PHILADELPHIA ORCHESTRA 


ASSOCIATION 





FOREWORD 


Tuts story of the Philadelphia 
Orchestra has been written 
during the past few months, for 
the friends and supporters of 
the Philadelphia Orchestra 
Association. 

My endeavor has been to 
give the account in a simple 
form and to use the Appendix 
for the statistics which should 
be recorded at a Twenty-fifth 
Anniversary. 


FRANCES ANNE WISTER 


OcTOBER, 1925 


ACKNOWLEDGMENTS 


With much appreciation of their 
assistance I desire to thank: 

The Board of Directors of the 
Philadelphia Orchestra Association 
and 
The Women’s Committees for the 
Philadelphia Orchestra, who have 
made it possible to publish this book. 
Mr. Arthur Judson, Mr. Louis A. 
Mattson, Miss Ruth O'Neill, Miss E. 
M. Russell of the Philadelphia 

Orchestra Office. 
Dr. Edward I. Keffer. 


FrANcES ANNE WISTER 


OcTOBER, 1925 


Twenty-five Years 


of the 
Philadelphia Orchestra 
I goo- I 925 
CONTENTS 
Part I 
an 3 


A Roap Ong HunpbrRED AND Firry YEArRs LonG 
Music in Philadelphia before 1900. 


ev awa es 16 
Tue Last TurN OF THE Roap 


The finding of Fritz Scheel at Woodside Park. The Philadelphia 
Symphony Society. The Philippine Concerts. First Concert 1900. Sketch 
of Scheel. The formation of the Philadelphia Orchestra Association. 


Ot ne ik we Oecd ep bu ee ees 31 
Earrty YEARS 


Financial difficulties. Incorporation 1903. The Beethoven Cycle. The 
Richard Strauss Concerts. Popular Concerts. 


RE NE a Py Oy aw dhe cn aw be nla Gk ees 47 
THe WoMEN’s COMMITTEES 


The Women’s Committees in Harrisburg, Allentown, Lancaster and 
Trenton. The Women’s Committee and the First Ten Thousand. The 
Germantown and Chestnut Hill Women’s Committee. The West Phila- 
delphia Women’s Committee. The Media, Chester and West Chester 
Women’s Committee. Committees in Delaware (Wilmington), Balti- 
more, Washington and Atlantic County. 


CHAPTER Wi Sines oe os he Oe a th 62 


THe GUARANTORS AND THE GUARANTEE FUND 


CHAPTER Vil eo Ae eee ri 
Tue Deatu or Fritz SCHEEL 


Illness and Death of Fritz Scheel. The Memorial Tablet to Scheel. The 
Musical Record. 


CHAPTER Iie oi eee ei aS Ge es be ee 89 
Tue Next Step 


Engagement of Carl Pohlig as Conductor. Sketch of Pohlig. The 
Musical Record. 


Part III 
CHAPTER Doo e ee ed Ou be as ole ale 99 


THE CoMING OF LEopOLD STOKOWSKI 


The engagement of Leopold Stokowski 1912. First programme. The 
Mahler Symphony. The Philadelphia Orchestra Chorus. 


CHAPTER ID... ee oa. 113 
THE SEVEN YEAR ENDOWMENT FuND 


Dissatisfaction with the Guarantee Fund. The proposition of the 
“Unknown Donor,’’ 1916. 


CHAPTER IIl..... 2. 0 a 116 
THE OrcHestrA DurRING THE WORLD WAR 


Presentation of Flags by Women’s Committees. Concert at Camp Dix. 
Red Cross Benefit Concert. The Liberty Loans. 


CHAPTER IV... ccc oe 122 


Tue TWENTIETH ANNIVERSARY MILLION DOLLAR 
ENDOWMENT FuND CAMPAIGN 


CHAPTER Vow a eee eR 139 
TwENTy YEARS OF PROGRESS 


Twentieth Anniversary 1920. Presentation of Silver Tankard to the 
President. 


ee law du baw ebuvevas 143 
Musica NEIGHBORS 


The eye ton of musical associations with the orchestra. Philan- 
thropic undertakings. 


TE SS a Aa ae 148 


IE CR ys oka a ghee eee peep ewe 155 
Tue TwEeNnty-FirtH ANNIVERSARY 
A General Survey. 
eid rs hile ee ee ge bec eee dene 163 
Tue Point or Toe Story 
Re re si hay cn inp inn a ee 6 os w Ale wpa hale es 170 
APPENDIX 
ee a ace Dewees es 178 


CHARTER OF [THE PHILADELPHIA ORCHESTRA ASSOCIATION 


yc, ks ee ck tee wan dye eee 180 


ExEcuTIVE COMMITTEE OF THE PHILADELPHIA ORCHESTRA I900-I90I 


MI TE CREO eg oh i gb A leche de doa pes wpdvarw wield voy eh s 181 


OFFICERS AND DIRECTORS OF THE PHILADELPHIA 
ORCHESTRA ASSOCIATION I900-1925 


ie Bn SN ee ee 191 


THe GuaRANTOoRS OF THE PHILADELPHIA ORCHESTRA 
ASSOCIATION I900-1901 


ee a, coteena aud ae atee, 193 


SUMMARY OF CONCERTS BY THE PHILADELPHIA ORCHESTRA 
SEASONS I900-190I TO 1924-1925 INCLUSIVE 


APPENDIRG ESE nok tebe cl (ea Oe ne er Fa, ont 


ConbDucToRS 
PERSONNEL OF THE PHILADELPHIA ORCHESTRA 1900-1925 
PERSONNEL OF THE PHILADELPHIA ORCHESTRA CHORUS 1920-1921 
MANAGERS 
Orrice STAFF 


ARBRE NODA Gea ee pie ave odes «s/o 000th 216 


AssisTANT Conpuctors. GuEstT CONDUCTORS 
ORGANIZATIONS THAT HAVE APPEARED WITH THE PHILADELPHIA 
OrcHEsSTRA. SOLoIsts WHo Have APPEARED WITH 
THE PHILADELPHIA ORCHESTRA 


APPENDIX Hye. hoe ae es ee 228 


SOME OF THE PRINCIPAL PLAYERS IN THE VARIOUS 
SECTIONS OF THE PHILADELPHIA ORCHESTRA 


APPENDIX I.os. cs ccegeee esses sites: 232 


ParTIAL List or ‘‘First PERFORMANCES IN AMERICA 


APPENDIX J... 2. 2c0e cubes eed ce ves ssh 234 


PROGRAMMES OF S1x CONCERTS OF THE 
PHILADELPHIA ORCHESTRA I900-190I 


APPENDIX Ko... ade eee cet) cen Lees 


THE WoMEN’s COMMITTEES FOR THE PHILADELPHIA ORCHESTRA 


APPENDIX De... o.oo eee ee ee ce oe ee rr 242 


ANNOUNCEMENT OF CHILDREN’S CONCERTS 


APPENDIX M..) 0.0.0.0 0000050000. 244 


PHILADELPHIA PERMANENT ORCHESTRA Prospectus Marcu 3, 1899 


APPENDIX Nin. oe a. 250 


LITERATURE OF EarzLy Days 


ILLUSTRATIONS 


ALEXANDER V AN RENSSELAER, EsQ............ Opposite 16 
oe dee ee Pum posricm at 
Mrs. ALEXANDER J. Datitas Dixon .......... Opposite 48 
Scuert Memoriat TABLET ................. Opposite 85 
Se ee ee es Opposite 90 
Me TGOROWSKI Gc ee ee Opposite 100 


PHILADELPHIAORCHESTRA AND MAHLERCHORUS, Opposite 105 


ENDOWMENT Funp MemoriaL TABLET ....... Opposite 126 


ENDOWMENT Funp MEMorRIALTABLET....... Opposite 128 





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Twenty-five Years 
of the Philadelphia Orchestra 


I goo- I 925 
CHAPTER [| 


A Roap One HunpreD AND Firty Years Lone 
“*Time Was unlocks the riddle of Time Is’’ 


‘“By PARTICULAR DESIRE 


“On Tuesday next, the 25th inst., at the Assembly Room in 
Lodge Alley will be performed a Concert of Music, under the 
direction of Mr. John Palma; to begin exactly at six o’clock. 

‘Tickets to be had at the London Coffee House, at one 
Dollar each; and no person to be admitted without aticket.”’ 


Such in January, 1757, was the announcement of the first 
public concert in Philadelphia of which there is record. So 
began the approaches to the Philadelphia Orchestra, like 
the approaches to a great bridge which begin hundreds of 
feet away from the span. 

There had been music in private and other entertainments 
previous to this public concert and in spite of the disap- 
proval of the Society of Friends and of a number of religious 
sects music found its first refuge in the church. As early as 
1701 Justus Falckner,a German Lutheran, wrote as follows: 


“T will here take occasion to mention that many'othetrs besides myself 
who know the ways of the land, maintain that music would contrib- 
ute much toward a good Christian service. It would not only attract 
and civilize the wild Indians, but it would do much good in spreading 
the Gospel truths among the sects and others by attracting them. 
Instrumental music is especially serviceable here. Thus a well-sound- 
ing organ would perhaps prove of great profit, to say nothing of the 
fact that the Indians would come running from far and near to listen 
to such unknown melody, and upon that account might become will- 
ing to accept our language and teaching, and remain with people who 
had such agreeable things; for they are said to come ever so far to 
listen to one who plays even a reed-pipe (rohrpfeiffe): such an extra- 


*O. G. Sonneck: ‘‘Early Concert Life in America.”’ 


[3] 


ordinary. love have they for any melodious and ringing sound. Now 
as the melancholy, saturnine, stingy Quaker spirit has abolished 
(relegiert) all such music, it would indeed be a novelty here, and tend 
to attract many of the young people away from the Quakers and sects 
to attend services where such music was found, even against the wishes 
of their parents. This would afford a good opportunity to show them 
the truth and their error.’’* 


When Falckner was ordained in Gloria Dei Church in 
1703, the Hermits of the Wissahickon played on the viol, 
hautboy, trumpets and kettledrums (Pauken) and the ser- 
vice was opened with a voluntary on the little organ, all 
of which he doubtless arranged and enjoyed. Gradually a 
number of other churches followed suit and installed organs. 

In regard to secular music in private houses, letters testify 
to its existence early in the 18th century; and Whitefield on 
his arrival was an ally to its opponents. One of his fol- 
lowers printed this information for the public in 1740, 
although the statement was later denied: 


‘Since Mr. Whitefield’s Preaching here, the Dancing School, Assembly 
and Concert Room have been shut up, as inconsistent with the Doc- 
trine of the Gospel: and though the Gentlemen concern’d caus’d the 
Door to be broke open again, we are inform'd that no Company came 
to the last Assembly night.’’f 


But music was craved by some of the inhabitants or a 
sensation would not have been made by the Musical Clock: 


“The Unparallelled Musical Clock, made by that great Master of 
Machinery, David Lockwood. It excels all others in the Beauty of 
its Structure and plays the choicest Airs from the most celebrated 
Operas with the greatest Nicety and Exactness. It performs with 
beautiful graces, ingeniously and variously intermixed, the French 
Horn, Pieces, perform’d upon the Organ, German and Common Flute, 
Flageolet, etc., Sonata’s, Concerto’s, Marches, Minuetts, Jiggs and 
Scots Airs, composed by Corelli, Alberoni, Mr. Handel and other 
great and eminent Masters of Musick.”’ 


It was not until Mr. Palma’s concert however, that there 
seems to have been any music for which the ees could 
buy tickets. This pioneer effort was followed by others. 
The ‘‘Subscription Concerts of Musick’’ became fashionable 
in 1764; and later the fortnightly ‘‘City Concerts’ under 
John Bentley at the City Tavern. The Amateur and Pro- 





*J. F. Sachse: ‘‘The Missive of Justus Falckner of Germantown, Concerning the Religious 
Condition of Pennsylvania in the Year 1701.”’ 
tRobert R. Drummond: ‘‘Early German Music in Philadelphia.”’ 


[4] 


fessional Concerts were a popular series. Groups of men 
fostered music as the years passed. Francis Hopkinson and 
his friends both professional and amateur assembled reg- 
ularly to play “‘Concerti Grossi.’’ This group of about 
twelve musicians probably formed Philadelphia’s first 
Orchestra. 

The first real musical impetus came undoubtedly from 
Francis Hopkinson, signer of the Declaration of Inde- 
pendence and later member of Congress. He was besides, a 
teacher, organist, poet, harpsichordist, essayist, improver 
of the harpsichord and the first American composer. Among 
his works are the song, ‘‘My Days have been so wondrous 
free,’ the earliest American secular composition extant; 
and “Seven Songs’’ dedicated to Washington. John Adams 
described him as:—'‘One of your pretty, little curious, 
ingenious men. His head is not bigger than a large apple. 
I have not met with anything in natural history more amus- 
ing and entertaining than his personal appearance, yet he 
is genteel and well bred, and is very social.’’** 

Other composers were not lacking as is seen by the an- 
nouncement of John Gualdo, in 1769, of a concert in which 
five out of thirteen numbers were composed by him. This 
is the first recorded composers’ concert in this country and 
his name appeared with those of the famous composers of 
Europe of the day, as Philadelphia was never far behind. 


Benjamin Franklin interested himself in the art and con- 
structed an improved Armonica or Musical Glasses. Thus 
two important public men of the time gave music their 
sanction and assisted its cause. 


As the city grew the people began to feel the need of 
instruction in music. From early times Philadelphia had 
its share of music teachers, the first one to publicly adver- 
tise, being a woman. Among them were a number of excel- 
lent Englishmen who presented at concerts the works of 
the great masters of Europe; and there were a few Germans. 
One of these was an accomplished person if the following 
announcement which appeared in 1755, be true: 


***The subscriber proposes to open a school on Monday next, in the 
house where the late Mr. Quin formerly dwelt, for the instruction of 
Gentlemen and Ladies, in the following accomplishments: 


**Sonneck: ‘Francis Hopkinson and James Lyon."’ 


is] 


‘First, The French, Italian and German languages, in a method 
concise and easy. 

‘Secondly, To play on the violin after the Italian manner, with a 

eculiar method of bowing and shifting in solos or concertos. 

Thirdly, Drawing and miniature painting with colours, flowers, 
insects, etc. . . . Likewise to draw patterns for embroidery, or any 
kind of needle work... . | 

‘*He has a variety of music, composed by the most eminent masters, 

- for the violino solo, concembalo et violoncello, to be disposed of on 
easy terms. 
*‘JoHN Mattuias KRAMER” 


Another German was H. B. Victor, who described him- 
self as follows: 


“Mr. Victor, Musician to her late Royal Highness the Princess of 
Wales, and Organist at St. George’s in London, lately arrived here, 
takes this method of acquainting the Musical Gentry in general that 
he gives instructions on the Harpsichord, or Forte Piano, Violin, 
German Flute, etc., especially in the thorough Bass both in theory 
and practice, for that his pupils may soon come to a fundamental 
knowledge of that fine science. 

‘‘N. B. Mr. Victor intended to give a concert, and to perform on 
his new musical instruments, but is obliged to postpone it for want 
of able hands; the one he calls Tromba doppia con Tympana, on which 
he plays the first and second trumpet and a pair of annexed kettle- 
drums with the feet all at once; the other is called cymbaline de 
amour, which resembles the musical glasses played by harpsichord 
keys, never subject to come out of tune, both of his own invention. 
He is to be met with at his house in Callowhill street near Water 
gireel.ae 


The many quaint advertisements of those times give an 
idea of the musical activities of the people. Amateurs often 
assisted professionals. 

Joseph Cézar, pupil of Viotti, in 1792, announced that: 
“Many amateurs of the first eminence being so kind as to 
honor him with their patronage, will perform,”’ etc. Again 
we hear of ‘‘a young lady who has never before appeared in 

ublic and therefore craves protection from all manner of 
insult.’’ Often the professional was ‘‘assisted by a gentle- 
man.’ Infant prodigies, who were always under ten, were 
numerous and they had invariably appeared before the 
crowned heads of Europe. | 

Organ dealers, spinet, harpsichord and piano makers, 
as well as dealers in musical merchandise began to appear. 





*Drummond: ‘‘Early German Music in Philadelphia."’ 


[6 ] 


Michael Hillegas, first Treasurer of the United States and 
first music dealer in Philadelphia, dealt in organs as early 
as 1753. His stock of music embraced all the popular and 
standard compositions of the day, and ane those of 
Tartini, Tessorini, Pepush, Corelli, Handel, Vivaldi, Bur- 
ney, Stamitz, Barbella, and Scarlatti. Besides sheet music, 
many other articles were to be had at his shop as we see 
from this advertisement: 


‘Tobe sold by Michall Hillegas, at his House in Second street, oppo- 
site Samuel Morris, Esq., an extraordinary good and neat Harpsichord 
with four stops; a good Violin-cello, an Assortment of English and 
Italian Violins, as well as common ones, as double lined, of which 
some extraordinary; a parcel of good German Flutes, imported here 
from Italy. Also imported in the last ships from London, a large 
Assortment of Musick, of the best Masters, viz: Solos, Overtures, 
Concertos, Sonatas, and Duets, for Violins, German Flutes, Haut- 
boys, French Horns, Violoncellos, and Guitars, Voluntaries, Lessons 
for Organs and Harpsichords, ruled paper of various Sorts for Musick, 
and Musick Books, Tutors or Books of Instructions to learn to play 
on the Violin, German Flute, Hautboy, or Common Flute, without a 
Master, Song Books, Cantatas, Songs on Sheets, and a Choice Parcel 
of Violin Strings, etc.’’** (Penna. Gazette, 1759.) 


John Behrent has the honor of being the first piano forte 
maker in this city. In 1775 his advertisement in the Penn- 
sylvania Packet informed the public that: 


“John Behrent, Joiner and Instrument Maker living in Third street 
continued in Campington, directly opposite Coate’s Burying-ground, 
Has just finished for Sale, an extraordinary fine instrument, by the 
name of Piano Forte, of Mahogany, in the manner of an harpsichord, 
with hammers, and several changes: He intends to dispose of it on 
very reasonable terms: and being a master of such sort of work, and a 
new beginner in this country, he requests all lovers of music to favour 
him with their custom, and they shall not only be honestly served, 
but their favours gratefully acknowledged, by their humble servant, 
John Behrent.’’* 


Familiar professional names in the early days were James 
Bremner, teacher of Hopkinson, John Gualdo, Stephen 
Forrage, George d’Eissenburg, Philip Roth, Philip Phile, 
John Bentley, Henri Capron, A. Juhan, Andrew Adgate, 
and Victor Pelissier, nearly all of whom were teachers as 
well as performers and were strong influences in the musical 
life of Philadelphia and in the training of the young who 
were early taught to crave the best musically. 





*Drummond: ‘Early German Music in Philadelphia.” 


('7 J 


The American Revolution caused concerts and other en- 
tertainments to be almost entirely abandoned, with the 
exception of the Mischianza and other affairs in which the 
British were the leading spirits. Little occurred during this 
period to advance musical art. 

With thecountry againat peaceand with the dawn ofa new 
century, interest in music revived and early in 1820 eighty- 
five men organized the Musical Fund Society, so far Phila- 
delphia’s greatest musical achievement. The officers and 
directors chosen on January 29th, 1820, were: 


Dr. William P. De Wees, President 
Dr. Robert Patterson, Vice-president 
Daniel Lammot, Treasurer 

John K. Kane, Secretary 


Managers of the Fund: James W. Barker, Thomas Artley, 
Francis G. Smith, Edward Hudson, Benjamin Carr, William 
Strickland, Henry P. Barrekens, William Hawkins, Charles 
A. Poulson, Benjamin Say, George Schetky and Andrew 
Farrouihl. 

The Charter states ‘‘That the essential objects of the said 
corporation shall be the relief of decayed musicians and 
their families and the cultivation of skill and diffusion of 
taste in music.’’ Four years later Musical Fund Hall was 
built at Eighth and Locust streets. For over thirty years 
this building was the centre of all music in Philadelphia, 
except opera. The Society maintained an orchestra and a 
chorus, and conducted an Academy of Music, which was 
the first school in Philadelphia permitted by Charter to 
_ confer Academic degrees in music. The orchestra of the 
Musical Fund Society was composed of its members, pro- 
fessional and amateur, and there were strict regulations as 
to rehearsals. They were players of no mean attainments 
for their time, and it is to be regretted that the influx of 
dazzling foreign performers was permitted to quench the 
atdor of the audiences and finally their own. The quality 
of the music performed was of a high order and compared 
favorably with that of Europe and of other American cities 
of that period. The ‘‘Creation’’ was chosen for the first 
concert, but the music could not be procured in Baltimore, 
New York or Boston, or even in Europe, so the plan was 


[8] 


abandoned. When it was first prone trombone players 
were engaged to come from Bethlehem, as there were none 
in this town. Indeed, the instrument itself was unknown 
and aroused much curiosity. Later at these concerts (1845 ), 
Beethoven's Symphony No. 1 was given in full. It was 
announced as ‘The Entire Grand Symphony of Beethoven,”’ 
and between the movements were vocal numbers serious 
and comic. During the next season the Second Symphony 
was given in the same way, and two years later came the 
“Eroica,’’ the Overture to Oberon, and the Midsummer 
Night's Dream. 

When the period of the great visiting virtuosi, Jenny 
Lind, Henriette Sontag, Vieuxtemps, Wilhelmj, Ole Bull, 
Sivori, Malibran, Lagrange, Alboni, Hensler, Gottschalk 
and others arrived, the excitement over their first appear- 
ances caused a decrease in interest in home talent and 
achievements, and the activities of the Musical Fund Society 
were maintained with less and less enthusiasm, until finally 
the Academy and then the orchestra were abandoned. An- 
other reason for this decline was the growing popularity of 
Opera, to the detriment of personal musical effort by 
Philadelphians. 

During the early years of the nineteenth century, as in 
the preceding one, Philadelphia was the abiding place of a 
number of excellent and hard working musicians. These 
carried on the labors of their predecessors by teaching the 
young, leading choirs and guiding the musical opinion of 
the city. Little recognition has been given these men, who 
included among their number, Alexander Reinagle, George 
Shetky, Benjamin Carr, Benjamin Cross, Raynor Taylor, 
Thomas Loud, Charles P. Hupfeldt, and later Charles Jarvis 
and his son, Charles J. Jarvis. 

In our own time among the many musicians who have 
fostered music here by their own example and by training 
others, four should be particularly mentioned: 

Dr. Hugh A. Clarke, for fifty years Professor of Music at 
the University of Pennsylvania, whose sway has been felt 
through the many students who have studied under him; 
Wm. W. Gilchrist, his pupil; Michael H. Cross, and Richard 
Zeckwer. These men wielded so potent an influence over 
music students and music lovers, that Philadelphians owe 
them a heavy debt. They received the musical laying on 


[9] 


of hands and transmitted the traditions that have existed 
here for two hundred years. 

The important undertaking of the middle of the century 
was the building of the American Academy of Music. 

With the growth of population and the increasing num- 
ber of visiting opera companies, a demand arose for an 
opera house of eee size and equipment. In 1852 the 
project was launched anda Charter obtained, but theamount 
of money needed, $400,000, was difficult to procure, and it 
was not until January 26th, 1857, that the Academy was 
opened with a grand ball. This eclipsed in size and bril- 
liance any assemblage hitherto seen in Philadelphia, and 
was followed on February 25th, by the first performance of 
opera in the new house. “‘I] Trovatore’’ was presented with 
Gazzaniga, Aldini, Brignoli and Amodio, and this marked 
the beginning of the splendid career of the Academy of 
Music. Gradually other musical events were transferred to 
the Academy, which became, and still remains, the musical 
centre of the city. 

Now the days of modern orchestral development are at 
hand. The first visiting orchestra of note was the Steier- 
markisches Orchestra, of twenty musicians, under the 
leadership of Henri Riha, which came from Germany in 
1838. 

Ten years later the Germania Musical Society, from Ber- 
lin, appeared under the leadership of Carl Lenshow. Pecu- 
niary losses caused it to disband and the members scattered. 
Later the Society was reorganized under Carl Bergmann. 
It had the honor of appearing at Sontag’s concert, in 1852. 

The Germania Orchestra, instituted in 1856 and incorpor- 
ated in 1860, succeeded this Society and for over forty years 
was an important part of Philadelphia’s musical life. Carl 
Sentz, the drummer of the Steiermarkisches Orchestra, be- 
came the first leader. Its concerts were given on Friday after- 
noons at Musical Fund Hall, at the price of two concerts 
for twenty-five cents, and packages of eight tickets for a 
dollar, which price was later raised to twenty-five cents 
per concert. Sentz was succeeded by Charles M. Schmitz, 
the ’cellist, who in turn was followed by William Stoll, Jr.. 
Unlike the custom of today the Germania was governed by 
a conductor and officers chosen by its members. The per- 
formances were not confined to classical concerts, but it 


[ 10 | 


played engagements for private dances, balls, festivals, ora- 
torios, fairs, commencements, and other miscellaneous 
entertainments. Besides the performances at Musical Fund 
Hall, concerts were given on Thursday afternoons at the 
Pennsylvania Academy of the Fine Arts, from 1879 until 
1895, inclusive. It was then customary to play one move- 
ment of a symphony each week for four weeks and at the 
fifth concert to play the whole. Charles M. Schmitz, who 
so long gave Philadelphians the satisfaction of hearing 
symphonic music which was their own, was the son of 
Adolph Schmitz, of Diisseldorf, player of the French horn. 
He taught woodwindand brass instruments in the Academy 
of the Musical Fund Society, and had the distinction of be- 
ing the first musician brought to America for the purpose 
of teaching. 

_ The Germania Orchestra finally disbanded and orchestral 
ventures were undertaken at Musical Fund Hall, Wither- 
spoon Hall and the Academy of Music. Mr. Henry Gordon 
Thunder and Mr. Wm. Stoll, Jr., were active in these efforts, 
but lack of money hampered the results. Tickets were sold 
at five for one dollar and twenty for four dollars. The pro- 
grammes included one or two movements of a symphony or 
concerto and miscellaneous selections now no longer played. 

An interesting enterprise in the musical world was the 
Philadelphia May Festival, in 1883, of which Mr. S. Deca- 
tur Smith was President, Mr. F. T. Sully Darley, Vice- 
president, and Mr. George Burnham, Jr. and Mr. Hartman 
Kuhn among the directors. Wm. W. Gilchrist and Charles 
M. Schmitz were the musical directors. Aside from the 
advantages derived from this series of concerts, it is worthy 
of record that Mr. Darley was the first Vice-president of 
the Philadelphia Orchestra Association and Mr. Burnham 
and Mr. Kuhn were charter members, while Mr. Smith was 
one of the original guarantors. 

The Philadelphia Symphony Society 1893-1900. 

The need of more orchestral concerts was evidently felt, 
for in 1893 the Philadelphia Symphony Society was organ- 
ized by amateurs and incorporated for the purpose of “‘the 
cultivation of the higher order of Orchestral Work and 
the fostering of all matters tending to promote the cause of 
music. 


[rr] 


The Society was fortunate in procuring as its first leader, 
Dr. Wm. Wallace Gilchrist, founder of the Mendelssohn 
Club in 1875, and its conductor for forty years. Members 
paid no fees or dues and the three concerts given each year 
in the Academy of Music were supported by the Associate 
membership. The two upper galleries were reserved for 
music students in the public schools and conservatories, and 
about fifteen hundred such tickets were distributed for each 
performance. The Society possessed a musical Library and a 
Reading Room. Rehearsals were open to accredited music 
students, much to the benefit of those who were studying 
orchestration. It also fostered chamber music by bring- 
ing the Kneisel Quartette to Philadelphia during sixteen 
seasons. 

After the resignation of Dr. Gilchrist, Fritz Scheel became 
the conductor. The list of works performed under both 
leaders was of the highest standard and would do credit to 
any professional orchestra. The place of this amateur orches- 
tra in the symphonic succession is a noble one and one of 
immense influence in this community. The incentive that 
it gave to young players was worth all the expense and 
effort involved. Scheel had hesitated when asked to become 
leader of an amateur organization for fear of endangering 
his reputation. Therefore, when the Philippine Concerts 
were arranged, a separate committee was formed having no 
connection with the Philadelphia Symphony Society. 

In 1900 the Society disbanded and sold to the Executive 
Committee of the Philadelphia Orchestra its library, a set 
of kettledrums and its music desks, and issued the following 
circular to its members: 


“The Society, always active in promoting the musical interests of 
Philadelphia, gave its earnest and hearty assistance to the organizing 
of the Philadelphia Orchestra, which, now established on a firm basis 
and fortunate in its splendid personnel of professional musicians, is in 
a position to continue orchestral work in Philadelphia and carry it 
to a point beyond the possibilities of amateurs. For this new orches- 
tra, which aims to do and can do so much for music in Philadelphia, 
the Society asks from its associate members the same generous support 
that heretofore has been given to our amateur organization.”’ 


Thus ended the only connection that ever existed 
between the Philadelphia Symphony Society and the 
Philadelphia Orchestra, which was that Fritz Scheel led 


[ 12 ] 


this amateur orchestra for one season before the formation 
of the Philadelphia Orchestra, composed entirely of pro- 
fessional Philadelphia musicians. 

Besides the impetus given to music in Philadelphia by the 
Musical Fund Society, the Germania Orchestra, and the 
Philadelphia Symphony Society, another group of musicians 
has been important in this community since 1893. The Manu- 
script Music Society founded by Dr. Gilchrist for the 
encouragement of native composers, continues to have a far- 
reaching effect on our musical life and is of fundamental 
value. 

Years passed and the fact became more and mote accen- 
tuated in the minds of musicians that Philadelphia, a city 
of 1,500,000 people, was dependent on visiting orchestras 
for the performance of great orchestral works. But while 
they were despairing of ever seeing in this city an orchestra 
akin to the modern ones in Europe and in other American 
Cities, a seed was germinating. Philadelphia had had a 
taste of what a modern orchestra was, as far back as 1876, 
when Theodore Thomas played at the Centennial Exhibi- 
tion, under the auspices of a Women’s Committee, headed 
by Mrs. E. D. Gillespie. The concerts were given up for 
lack of support, but a sip of ambrosia can never be forgot- 
ten. It is to Mr. Thomas and to Mrs. Gillespie, pioneers in 
the modern orchestral world, that we owe the Philadelphia 
Orchestra today. Mrs. Gillespie made another effort in 
1881, on her return from a sojourn in Germany, for she 
realized that there were no musical advantages for students 
in Philadelphia to compare with those in Germany or in 
Boston, where Mr. Higginson had lately founded the Boston 
Symphony Orchestra. She invited Theodore Thomas to 
come to Philadelphia, give a series of symphony con- 
certs, and share the profits. A few musicians supported this 
enterprise, but for the majority the programmes were severe 
and boring, and when after four seasons the profits were 
found to be $28.00, the attempt to establish a large modern 
orchestra in this city was abandoned. Thomas was lost to 
Philadelphia because the time was not ripe. This be said 
to our regret, not to our shame. As Mrs. Cornelius Steven- 
son remarked many years afterwards, one cannot feed 
meat to babes. Even twenty years later the majority of 
Philadelphia citizens felt that the season was being forced, 


[33 ,)] 


when after a number of unsuccessful attempts the Phila- 
delphia Orchestra was founded. 

However, memories of Theodore Thomas, father of Amer- 
ican orchestras, lingered in the minds of a few music-lovers, 
and their longing was increased by regular visits from the 
Boston Symphony Orchestra, which gave five and later ten 
concerts each season. Many people can bear witness to the 
joy that they felt when Gericke and Nickisch brought that 
orchestra here. Soon the jealousy of Philadelphia was 
aroused at hearing that Theodore Thomas was to settle in 
Chicago. The West had seized the pioneer leader whom we 
might have had. Philadelphia's eyes also turned to New 
York City, where Dr. Leopold Damrosch and his son, 
Walter, and Anton Seidl led orchestras; and where the 
Philharmonic Society had long had an honorable career. 
Still Philadelphia made no move. Then, in January, 1899, 
it occurred to a group of women to raise a fund of $100,000 
and bring to Philadelphia as a nucleus the New York Sym- 
phony Society under Mr. Walter Damrosch; fill it out with ~ 
the best available musicians and call it the Philadelphia 
Orchestra. A circular to this effect was issued with the 
result that a storm of protest arose headed by another group 
of women, during which much newspaper publicity was 
given to the subject of an orchestra for this city. Finally the 
matter was adjusted and a committee of women issued a 
prospectus for a Philadelphia Orchestra of which the prin- 
cipal points are quoted :* 


Prospectus OF PHILADELPHIA PERMANENT ORCHESTRA 
ab * * * * 


‘In order to establish an orchestra such as would be a distinct credit 
to the city, it is necessary to havea paid-up fund of not less than $250,000. 
* * * * * 


“1. Subscribers shall not be bound by their subscriptions unless the 
sum of $200,000 shall have been subscribed. 

‘2. The fund shall be used only for the purpose of establishing and 
maintaining a Permanent Philadelphia Orchestra, and it shall be 
applied for that purpose by the following Trustees: 


C. W1LL1AM BERGNER Cuas. C. Harrison 
Joun H. Converse C. Hartman Kun 
SAMUEL A. CROZER Simon A. STERN 

Geo. W. Cuitps Drexen James F. SuLttivan 


Tuos. B. WANAMAKER 
*For full text of Prospectus, see Appendix M. 


[14 ] 


The Trustees shall invest $200,000 of the fund, using only the 
interest thereof and the additional $50,000 shall be used for cur- 
rent expenses of the first few years, when the expenses will be 
heavier and the deficit greater. 

3. The orchestra shall be composed, first, of the best musicians 
resident in Philadelphia; then, of the best musicians obtainable 
either in this country or abroad. 


46 


*. * * K #* 


4. The Board of Trustees, when it considers that the completion of 
the fund is assured, shall select the leader upon the careful and 
unbiased consideration of the merits and records of all candidates 
submitted to it.’ 


* * *F * 

Subscriptions towards this immense sum of money — 
$250,000*—did not come in fast, and finally the proposition 
was abandoned under the prospect of a Philadelphia Orches- 
tra formed on a very different and much more modest plan. 
There are two ways of embarking on an enterprise, one is 
to procure the funds in advance on faith; the other is to 
start the undertaking on faith and hope for the best to pay 
the bills. The first plan failed, the second succeeded; and 
after twenty years of effort, an orchestra was financially 
established in Philadelphia. 


*After a year of work the total sum promised was $50,000. 


ese 


CHAPTER II 
Tue Last Turn oF THE Roap 


The last turn of the road wasa long one. It led from Ger- 
many to New York, to the World’s Fair in Chicago, to 
San Francisco, back to New York and to Woodside Park, 
Philadelphia. The turn was made by Fritz Scheel. 

The beginning of the Philadelphia Orchestra was the 
moment in July, 1899, when Mrs. Innes, wife of Bandmaster 
Frederic N. Innes, showed some programmes to Dr. Edward 
I. Keffer and asked whether he had heard Fritz Scheel and 
his orchestra at Woodside Park. At that moment the man 
for whom Philadelphia had been waiting was found; and 
when the place and the man come together the hour has 
come. Was it chance or was it fate that caused that question 
to be asked? Who shall determine? 

Dr. Keffer speedily went to Woodside Park* and was so 
pleased with what he heard that he recommended his friends 
to go to hear Scheel’s masterly leading and fine concerts, 
besides mailing several hundred programmes to the musi- 
cians of his acquaintance. He found to his surprise that in 
one week a Wagner Night, a Beethoven Night and a Sym- 
phony Night were included. Many of the listeners were con- 
vinced that Scheel was the man to organize an orchestra in 
Philadelphia. He was competent to do it, he had no per- 
manent position and he saw the opportunity. Mr. John 
Fasshauer, an active member in Mr. Thunder’s orchestra, 
succeeded in arranging a meeting of professional musicians, 
who consented to enter into a liberal agreement as to salaries 
and services. Still a guarantee fund seemed to be a neces- 
sity. The plan proposed was to continue the Friday after- 
noon concerts, long a feature here, under Fritz Scheel at the 
Academy of Music. A conference was held at the University 
Club with Mr. John H. Converse, Mr. George Burnham, 
Jr., and Mr. Thomas a’Becket. The question of a fund was 
discussed and Mr. Converse, a trustee of the proposed Per- 
manent Orchestra, suggested that the Women’s Committee 


*At this time Willow Grove Park, fifteen miles out of Philadelphia, was the foremost 
summer musical center. 


[16 ] 


(©) Vhe Phillips Studio 





ALEXANDER VAN RENSSELAER, ESQ. 





for that orchestra should co-operate. This plan did not 
succeed, however, and the idea of a Friday afternoon series 
was abandoned. 

Finally, after much effort, terms were agreed to by which 
Mr. Scheel consented to remain in Philadelphia. He was to 
conduct three different enterprises during the winter: 


1. The Philadelphia Symphony Society, a well-established amateur | 
orchestra organization (with weekly rehearsals and three public 
ee aces). 


2. The Opera Class (an amateur chorus meeting weekly at Mrs. 
Alexander J. Cassatt’s house). 


3. A week's series of Popular Concerts during October at the 
National Export Exposition at the Commercial Museum in West 
Philadelphia. 


He was to receive $1000 from each of these associations. 
He accepted with the provision that at the end of the season 
he should be given the opportunity to conduct two concerts 
with an orchestra of professional musicians. 

The winter passed and in the early spring Scheel asked 
to have this part of the contract fulfilled. Like the ogre in 
the fairy tale, who always claims the beautiful princess, it 
must have seemed to the men, who had no idea how they 
were going to keep that promise. Scheel had given this as 
his only reason for staying, for he wanted a chance to show 
what he could do with professionals. However, having 
given their word, a committee was formed consisting of 
Mr. John H. Ingham, Mr. Oliver Boyce Judson, Dr. Edward 
I. Keffer, Mr. Edward G. McCollin and Mr. Oscar A. Knipe. 
Scheel selected his players by visiting the theatres and mak- 
ing notes each evening about the various musicians in the 
orchestras. At this point his task was easy compared to 
that of the Executive Committee who were responsible for 
the financial side of the concerts. Various benefits were con- 
templated and finally a decision was arrived at through the 
i age in Philadelphia of Lillie Langtry, who was acting 

or the benefit of the families of soldiers fallen in the Boer 
War. Why should not this undertaking be a patriotic one 
likewise? Why not assist the families of soldiers and sailors 
fallen and disabled in the Philippines? No sooner said than 
done. Mrs. Alexander J. Cassatt had a son in the army, and 
was speedily interested in a plan to raise money for the 
families of our own men in the service. She embraced the 


rz] 


idea with enthusiasm, formed a committee of prominent 
women and carried the concerts through brilliantly and 
efficiently. The Executive Committee managed the musical 
end, and Mrs. Cassatt’s Committee of Women advertised 
the concerts, procured the support of musical and social 
organizations, secured the patronesses, and filled the house. 
The tickets were sold at auction with much profit. 
The concerts were advertised as follows: 


“Our Soldiers and Sailors. 
Academy of Music 
Thursday, March 29th and April 5th, 3.30 P. M. 


Two Orchestral Concerts under the direction of Mr. Fritz Scheel 
will be given for the Relief of the Families of the Nation’s Heroes — 
killed in the Philippines. 


Soloist for the first concert: M. Vuapimtr DEPACHMANN 


PROGRAMME 
Weber... 0.50. (S500 aes ee Overture ‘‘Euryanthe”’ 
GOLDMARK . $cc ates seek eee Symphony, ‘‘A Rustic Wedding”’ 
COPING 0050.) alas shin ae ea ee Concerto in F minor 
SCHUMANN: i). 005 + 0a bu eS ohh clu ste ay th a ‘“Abendlied”’ 
Bizer.. so ks oe ee Scherzo, Suite Roma 
LASET 6 cove tisk ee ee Rhapsodie Ongroise, No. 2 


Soloist for second concert: M. Epouarp DE RESZKE 
Contributions to the Cause may be sent to Mrs. F. A. Packard, 
Treasurer, No. 110 S. Eighteenth Street.”’ 
‘Our Soldiers and Sailors 
On April 5th, at 3.30 P. M. 
Second Concert by an Orchestra of Eighty 
Philadelphia Musicians 
Under the Direction of Mr. Fritz ScHEEL 


For the Relief of the Families of men killed in the Philippines. 
Mr. Epouvarp DE Reszxz, the famous Basso, will sing. 


PROGRAMME 
BEETHOVEN.......... act seh alga eet or Symphony “‘Eroica’’ 
MEYERBEER..... Aria, ‘‘O Jours Heureux’’ (from L’Etoile du Nord) 
WAGNER IG), sc win Gk sists bea oe oe Vorspiel, ‘‘Lohengrin”’ 
HOPMANN) os ooo ds a ‘Im Sonnenschein”’ 
VERT censure ecm eles ae eee Aria, ‘‘Infelice’’ CErnani) 
Liszt gk Poe oa Se First Hungarian Rhapsody 


‘THe PxitippInE CoNncERTs* 
MarcH 29, 1900-APRIL 5 © 
UNDER THE PATRONAGE OF 
800 PHILADELPHIA MEN AND WOMEN 


*Programme of March 27th and 28th, 1925. 


[ 18 | 


“Philadelphians generally do not know that The Philadelphia 
Orchestra first appeared in this City of Brotherly Love in disguise, a 
Beene one, but none-the-less, a disguise. Had it tried to stalk 

oldly through the city gates, it would have been riddled by the guns 
of a critical public which disagreed at every point when a permanent 
orchestra was discussed. 


“The fact was not made public that these concerts for the benefit 
of the families of American soldiers and sailors fallen in the Philip- 
pines were a preliminary experiment, but on November 16, 1900, as a 
result of their success, the first concert of The Philadelphia Orchestra 
took place. 


‘The Committee of Women which launched the concerts, hardly 
realized that through their efforts a new era in Philadelphia music 
was being inaugurated. The Executive Committee of men behind the 
project had such an end in view, but they preferred to remain unknown. 


“The concerts were devoted to a popular benefit. They were also 
the means of carrying out with Fritz Scheel, leader of the amateur 
Philadelphia Symphony Society, a contract that he should have a 
public appearance with an orchestra of professional musicians. 


“The concerts were brilliantly successful and realized a net profit 
of $10,252.73. The musicians played at less than Union rates for 
thirty-six rehearsals and two performances, and Mr. Scheel gave his 
services. , 


“The attitude of the public during these years is revealed in the 
fact that it seemed natural for a group of women to sponsor concerts 
for wat heroes; but in 1904 it seemed an unheard of innovation that 
women should organize to further the interests of a permanent 
orchestra. 


“Many people who prize The Philadelphia Orchestra as the great- 
est treasure we possess, remember only too well the days when Phila- 
delphia was dependent on visiting orchestras. Young people today 
have the good fortune to live in a town where an orchestra of the 
highest artistic standards under a leader of world-wide reputation is 
now firmly established. Music lovers and citizens generally, are 
grateful to the men and women of courage, who gave Fritz Scheel his 
first opportunity in Philadelphia.’’ 


‘““<COMMITTEE OF WOMEN 


Mrs. Alexander J. Cassatt, Chairman; Miss Harriet Buch- 
anan, Secretary; Mrs. Frederick A. Packard, Treasurer; Mrs. 
C. William Bergner, Mrs. Henry C. Boyer, Mrs. Edward 
Coles, Mrs. Joseph G. Darlington, Mrs. Frank H. Rosen- 
garten, Mrs. Barclay H. Warburton, Mrs. CharlesS. Whelen, 
Mrs. J. B. Sands, wife of Captain Sands, of the Naval Home; 
and Miss Meade, daughter of the late General George Gor- 
don Meade. 


[19 ] 


‘EXECUTIVE COMMITTEE 


Mr. Joun H. Incuan, of the Melody Club 

Mr. Ottver Boycs Jupson, of the Operatic Society 

Mr. Epwarp I. Kerrmr, of the Philadelphia Symphony Society 
Mr. Epwarp G. McCo.u1n, of the Orpheus Ciub 

Mr. Oscar A. KNIPE 


The Philadelphia Times, March 30, 1900: 


“When Johnny comes marching home again from the Philippines 
he will find that the girl he left behind him has had a place in the 
hearts of Philadelphia matrons at least. That interest was evidenced 
in the first of the two widely heralded concerts in the soldiers’ and 
sailors’ aid, which took place at the Academy yesterday afternoon. 
Society turned out bravely and filled the whole of the auditorium and 
the balcony, but there, unfortunately, it stopped, and the upper part 
of the house, though the labors of the ladies interested have been 
unflagging and strenuous, had plenty of room. 

‘Pacing up and down the corridors were privates from the Arsenal 
and tars from the Navy Yard. In braided dress uniforms of brilliant 
blue, shining helmets and buttons that glistened like molten gold, 
the soldiers stalked to and fro, their belted waists giving pointers to 
the masculine followers of the latest fad, and their shoulders putting 
to shame the well cottoned ones of the ‘swells’ standing near. The 
tars in their flapping breeches and spreading collars, were a pictur- 
esque element among so many landsmen, and they, too, sold pro- 
grammes, and made good salesmen. On the stage guns were stacked 
at the sides and colors dipped from the stacks.”’ 


It is well to reiterate here that the Philadelphia Orches- 
tra is not and never was a continuation of the amateur Phila- 
delphia Symphony Society. Only one member of that organ- 
ization played at the Philippine Concerts. 

These concerts were so successful and so warmly received, 
that steps were taken to organize a committee to continue 
concerts by Philadelphia musicians. Later in the spring of 
1900, a meeting was called in the Orpheus Club Rooms by 
Dr. Richard J. Dunglison, President of the Musical Fund 
Society. Officers of various musical organizations, represen- 
tatives of the press and prominent men in civic affairs were 
present. A plan for organization was discussed and the neces- 
sity for a Guarantee Fund was emphasized. The same com- 
mittee of gentlemen was appointed, with the addition of 
Mr. John C. Sims, as Treasurer. Within four weeks of the 
second Philippine concert, the first circular announcing the 
plan for forming a Philadelphia Orchestra was mailed by 
this Committee: 


[ 20 ] 


“‘A PLAN To DEVELOP THE ORCHESTRAL 
Resources OF PHILADELPHIA 


‘The plan briefly outlined herein is addressed to all those people who 
are interested in good music and have at heart a desire to propagate 
musical culture in Philadelphia. 

“Much interest has been aroused by the successful result attained 
in the symphony concerts recently given for the benefit of the sufferers 
through the pepe War. It is thought that these concerts proved 
the availability of many of our resident players, and that the experi- 
ment might well be followed by a series of concerts during the season 
of 1900-1901, conducted upon the same general plan. 

“The project of a permanent Philadelphia Orchestra is at present 
not sufficiently advanced to permit of the hope that such a body can 
be organized in time to be heard next season; therefore, the series of 
concerts herein proposed will not conflict with, but will further that 
movement, because it will provide the resident players with a season's 
training in symphonic work and thus enable them better to fill posi- 
tions in the permanent orchestra when it shall need their services. 

“The proposed plan embraces a series of about six evening and 
possibly two afternoon concerts, to be given in the Academy of 
Music, at customary concert prices. It has been ascertained that each 
concert with its rehearsals will cost about $2000, an expense that will 
be covered by a sale of two-thirds of the house. 

“Hitherto it has been impracticable, when concerts have been 
given by local orchestral players, to arrange for a sufficient number 
of rehearsals. As a rule it has been impossible to obtain more than a 
single rehearsal. The present scheme contemplates at least five or six 
rehearsals for each concert. 

“Mr. Scheel’s reputation abroad, where he was a colleague of 
von Biilow, Brahms, Joachim, Sarasate, D’Albert and Wilhelmj, and 
conductor of orchestras in Schwerin, Chemnitz and Hamburg, was a 

uarantee of what was to have been expected of him here. The pro- 
fGen musicians of Philadelphia are virtually unanimous in ex- 
pressing hearty admiration for his rare ability as a leader; they ack- 
nowledge that his work among them this winter has been a real 
stimulus to the advancement of their art, and they therefore desire to 
secure the advantage of his services next season. 

‘In order to insure the financial success of the proposed concerts, 
it has been deemed advisable to raise a guarantors’ aie of at least 
$10,000. No payment of money is asked for at the present time; but 
all who are willing to become guarantors are requested to send in 
their names and addresses to the Secretary of the Committee, Mr. 
John H. Ingham, 505 Chestnut Street, stating the amount of their sub- 
scription, which, however, shall not be binding until the total sum 
of at least $10,000 shall be reached. 

‘As the Committee wishes particularly to obtain a large number 
of subscribers to the fund, it will be glad to accept contributions of 
any amount not less than five dollars. 

*x* *£ *- me * 


[21 ] 


‘Committee: 

Henry WHELEN, JR. 
Joun C. Stms 
Epwarp G. McCo.iin 
Oscar A. KNIPE 
Dr. Epwarp I. Kerrer 
OLuIverR Boyce Jupson 

April 30, 1900 Joun H. IncHam’’ 


A Guarantee Fund of $15,000 was raised from one hun- 
dred and twenty people*, a difficult task in those days, for 
an untried plan; and six evening concerts were given during 
the winter of 1900-1901. 

The Committee invited four thousand women to be 
patronesses, and issued many circulars. It was the personal 
work, however, that accomplished the result in 1900, and 
that has continued to accomplish results during twenty- 
five years. Guarantors and patronesses were accorded the 
privilege of securing seats, for which there was no demand, 


in advance. 
PHILADELPHIA ORCHESTRA** 
Mr. Fritz ScHEEL, Conductor 
First Concert 
Friday, November 16th, 1900, at 8.15 P. M. 


PROGRAMME 

Cari GoLDMARE]. ce ee Overture ‘‘In Spring,’’ Op. 36 
Lupwic von BEETHOVEN........ Symphony No. 5, C minor, Op. 67 

I. Allegro con brio... 0... 2 a 

Il. Andante con moto... .......;) 0s. 3-8 

il Allegro... oi. se tS 3-4 

IV. Allegroc.. 2.56.48 5200.6) 2 4-4 
Peter ItitscH TscHAIKOWSKY........ Concerto for Pianoforte No. 1, 
B-flat minor, Op. 23 

I. Allegro non troppo e molto maestoso......... 3-4 

II. Andantino simplice. )... 0... |e 6-8 

III. Allegto con fuoco.. ..2..5 4 
Karu Maria VON WEBER........ “Invitation to the Dance,’’ Op. 65 
Orchestration by Felix Weingartner 
RicHARD WAGNER.............. Entry of the Gods in ‘‘Walhalla,”’ 
from ‘‘Das Rheingold."’ 

Soloist 


Mr. Ossie GABRILOWITSCH 
This concert was herald as a musical and social event 
and the newspapers were highly commendatory and friendly 
in tone. 


*See Appendix D. 
**For remaining programmes see Appendix J. © 


[ 22 ] 


‘““OrCHESTRA CONCERTs Open AusPICIOUSLY 
‘‘PHILADELPHIA GETTING IN Linz WiTH Boston, CHicaGco 
AND New York IN HAVING Home ORGANIZATION. 
“‘Ossrp GABRILOWITSCH, 


‘The Russian pianist made his Philadelphia début last night. 
‘The series of concerts by the Philadelphia Orchestra opened under 
notably happy auspices in the Academy of Music last evening. The 
musical and social interests engaged constituted the occasion an 
exceptional one. | 

‘From the results evinced in the performance of the programme 
under Mr. Scheel’s direction it must be regarded as well as marking a 
distinct period in the musical advancement of the city. Not the least 
interesting evidences of general sympathy with the movement to 
place Philadelphia in line with Boston, Chicago, and other cities in 
the possession of an established orchestra was the fact that Mr. Wil- 
liam Stoll, Jr., and Mr. Henry Gordon Thunder, both identified with 
the endeavor to advance this branch of work in the past, figure in the 
present movement, the one as a violinist in the organization, the 
other as a guarantor. 

“The Philadelphia Orchestra, as it exists, is, with slight exception, 
what its name purports, engaging practically all the best orchestral 
performers in the city. A portion of this material was under disad- 
vantage, both as to individual training and the fact that a few men, 
fulfilling the demands of an orchestra in a theatre, are mainly re- 
quired to play as loud as possible, with corresponding absence of any 
approach to phrasing. 

Considering these facts and in view of the works accomplished in 
last evening's programme, the results must be regarded as little short 
of notable, not only as to the outcome of a training by a man of ex- 
ceptional thoroughness in this direction, but in the aspect of an 
enthusiastic response on the part of the performers. It is only in case 
of entire sympathy, between those engaged that an outcome corre- 
ens with that demonstrated in the first programme can be 
attained.” 


‘““THE OrcHESTRA AT THE ACADEMY 
““PHILADELPHIA’S NEw OrGANIZATION UNDER HERR SCHEEL 
Makes Its Désut 
‘“GABRILOWITSCH THE SOLOIST 


“The Young Russian Heard in Tschaikowsky’s Concerto in B. Flat 
Minor. A Brilliant Audience Greets Orchestra and Enjoys an Inter- 
esting Program. 

“With unequal forces at his command in the orchestral choirs, 
Herr Fritz Scheel, by the sheer effect of personality, was able to carry 
artistic conviction home to the brilliant audience at the Academy of 
Music last evening, when the Philadelphia Orchestra made its first 
appeal. By wise choice of program, by the happy selection of a soloist 
and by the spirit which pervaded the interpretation of the numbers 
read, the pede made a deep impression and the orchestra, when at its 
best achieved a decided success. It has in it the promise of a new era 


[23 | 


musically, and its work of last evening is an earnest of better things 
to come. Certain readjustments are inevitable. The strings show up 
finely. There is high finish and excellent tonal quality in all they do. 
They are, indeed, the backbone of the orchestra. The brasses, on the 
whole, met the demands of the leader and music, but the horns need 
as keen a concern for time as for tone, and while these choirs in no 
wise seriously interfered with an adequate realization of the beauty 
of the work so interpreted, the same cannot be said for the wood-wind 
which was not up to the standard in several particulars, though the 
bassoons were notably efficient and in fine trim. 


**HeRR SCHEEL’s Goop Work 


‘All this was, however, to be expected. Every one present who is 
in and of the new movement, which started off with such flying 
colors, knew the limitations and accepted them in the right spirit. 
With this said and understood one can speak enthusiastically of the 
really amazing results obtained by Herr Scheel in so short a time. 
There were moments when the orchestra played with a brilliancy and 
dash and with a finish that was completely satisfying. Herr Scheel’s 
dynamic range is extensive, his palette of color is rich and his con- 
trasts are striking and yet fully in the spirit of the work. The orches- 
tra was particularly effective in the Goldmark overture, in the 
“Entry a the gods into Walhalla’ and in the Weber music. Wein- 
gartner, instead of paraphrasing the famous‘ ‘Invitation to the Dance’’ 
rondo for the ballet, as Berlioz did, has written what is really 
a brilliant open-air concert version which taxes the full orchestra, 
and which Herr Scheel carried out in splendid spirit, giving a chance 
for all the choirs to do their best, the harp coming in for some crisp 
work that was very brilliantly done. All these three highly colored 
numbers were set off against the more trying classical demands of 
the Fifth Symphony. If the reading it received revealed the indivi- 
dual weaknesses of the orchestra as now made up, it was at least a 
revelation of the great advance the band has made. There was deci- 
sion and emphasis and grace in phrasing and a keen discrimination 
in the shading. If Herr Scheel had his view of the traditional tempi 
the final effect was to reveal the work in its noble proportions and 
to make every one feel the true import of this great masterpiece. 


‘*A UDIENCE ENTHUSIASTIC 


* * * + & 


‘The enthusiasm of the audience was most unrestrained and gener- 
ous. It was marked at the close of the symphony and fairly over- 
whelmed Gabrilowitsch, and this, with the splendid turnout from 
top to bottom, was a tribute to the committee and the guarantors 
who made the concert possible. 


The first venture having been successfully concluded, 
business matters were attended to by issuing the first call 
of the Philadelphia Orchestra to the guarantors, combined 


[24 ] 


with which was the announcement of the formation of the 
Philadelphia Orchestra Association, on May 17th, 1901, 
with the following officers and directors: 


President 
ALEXANDER VAN RENSSELAER 
Vice-president 

F. T. Sutty Dariey 


Secretary 
Joun H. IncHam 
Treasurer 
Henry WHELEN, JR. 

Board of Directors 
A. J. Cassatr C. Hartman KuHN 
Joun H. Converse Epwarp G. McCotiin 
Ecxtey B. Coxe, Jr.° Tuomas McKzan, Jr. 
F. T. Sutty Darey CLEMENT B. NEwsBoip 
WitiiaM L. ELkins James W. Paut, JR. 
Miss Mary K. Gipson Mrs. F. H. RosENGARTEN 
CLEMENT A. Griscom EpGar ScoTT 
Mrs. A. C. Harrison SIMON A. STERN 
Joun H. IncHAM Miss ANNE THOMPSON 
Otiver B. Jupson Henry WHELEN, JR. 
Epwarp I. .KeFFrer A. VAN RENSSELAER 
Oscar A. KNIPE P. A. B. WIDENER 

Executive Committee 
Joun H. INcHAaM Epwarp G. McCot.in 
OLIver B. Jupson A. VAN RENSSELAER 
Epwarp I. KEFFEer Henry WHELEN, JR. 


Oscar A. KNIPE 


Who was the conductor of this new orchestra, who until 
eighteen months before was unknown in Philadelphia? 

Fritz Scheel was born in Ltibeck, Germany, in 1852. His 
father and grandfather were orchestral conductors and his 
mother was a highly talented singer, from whom he inher- 
ited his remarkable memory and fine ear. 

Fritz was the oldest of a large family and worked for his 
own and his family’s support from an early age. He received 
his education from the city, in return for playing in orches- 
tras and at concerts and operas. Asa boy he often had to fill 
sudden vacancies, and he was also able to play the horn, 
trumpet, trombone and tuba. He was the principal teacher 
of his four brothers, all musicians. As his father was a prac- 
tical musician, Scheel had had from his childhood an inti- 


[25 ] 


mate experience with the details of orchestral instruments. 
As a boy he conducted an orchestra of his own formation, 
giving subscription concerts in nearby towns which were 
well attended. At fifteen he appeared as a violin soloist. 


Scheel’s first appearance as a conductor was when he was 
the youthful trumpeter in the town band of Chemnitz. Like 
other municipal bands of Germany, this one furnished the 
music for all occasions and happened to be playing for the 
circus. The leader was taken ill, and one of the men was 
selected as a substitute. When the ring master heard of it, 
he said, ‘No, let that boy conduct. It is he who watches 
the horses’ feet, when they dance, and it is he who sets 
the time for the music.’’ Scheel became the leader of the 
band, and later on was employed by the town as instructor 
of all the band and orchestral instruments. This experience 
gave him an expert knowledge of technique, which proved 
valuable later. 


In an interview given during the first season here, Scheel 
described conducting his first opera, shortly after receiving 
a life appointment as first violin in the Court Orchestra at 
Schwerin. ) 


“Do I recall the first performance that I conducted?”’ said Mr. Scheel. 
“Yes, and it was an opera. Meyerbeer’s ‘Robert Le Diable.’ I was 
exactly nineteen and a half years old, and a lost orchestra score led 
to it. | was the concertmaster then in the Chemnitz Orchestra, which 
in summer played for the opera performances in Bremerhafen at the 
Court Theatre. The opera of Bebe Le Diable’ was announced, and 
when the morning of the first rehearsal came it was discovered that 
the entire second act of the conductor's score had been lost. Herr 
Pohl, the conductor, a young man of thirty-three, refused to goon with 
the opera. It was too late to think of getting another score in time 
for the rehearsals necessary for the performance. The only way out 
of it seemed to be the withdrawal pane opera. Some of the singers, 
who had noticed the cue for their phrases that I had given them on 
the violin, asked whether I would not conduct. ‘If the conductor 
invites me I will,’ I said. When this was repeated to the conductor 
he promptly gave the invitation, and it was a pressing one, for they 
wished to give the opera and keep faith with the public. That entire 
second act I had to conduct from the first violin part, memory sup- 
plying the rest. The performance went without a break. That settled 
my career. Three days later I conducted Gounod ’s ‘Faust,’ and imme- 
diately afterward ‘L’Africaine,’ of Meyerbeer, Herr Pohl himself 
supplying the harp part on a piano. In the years that followed many 
were the performances that | conducted, including the entire “Nie- 
belungen Ring’ of Wagner. But I never hear a fragment of Meyerbeer’s 


[ 26 ] 


‘Robert Le Diable’ without smiling to myself at the recollection of 
the time when I conducted the second act from the first violin part.” 


After nine years at Schwerin, Scheel went to Chemnitz as 
Kappelmeister, winning the appointment over thirty-five 
competitors, as successor to Hans Sitt. There he also played 
weekly solos and conducted for the most famous virtuosi, 
such as Hans von Biilow, Sarasate, Wilhelmj and Joachim. 
He once prepared the orchestra for a Beethoven Concert 
under Von Builow’s direction in an hour and a half, the pro- 
gramme being the Leonore Overture No. 3, the Eroica Sym- 

hony and a Concetto. The Chemnitz Orchestra was often 
called to different cities in Saxony, such as Dresden, Leipzig, 
etc., to play before crowded houses. Scheel was also elected 
leader of the Sitt Chor Gesangverein, a Chorus of 400 
mixed voices. With this Chorus and the excellent City 
Orchestra he obtained marvelous results, and produced 
among other great works, Bach’s ‘‘Mattheus Passion’ and 
‘Trauer Ode’’; Beethoven's Ninth Symphony and his Missa 
Solemnis; Schumann’s ‘‘Faust Scenes,’’ Liszt's “‘Christus’’ 
and Handel’s “‘Samson.’’ The Choral works of Mendels- 
sohn, Schumann, and Gade were also performed, as well as 
many small choruses. In 1885 a Music Festival lasting three 
days was given to celebrate the two hundredth anniversary 
of Bach’s birth, and he kept in the vanguard of musical 
events in Germany. 


During this period, Scheel spent four summers in conduct- 
ing opera at a Russian watering place. Four different operas 
were given each week, and the repertoire included: ‘‘Tann- 
hauser,’’ ‘Lohengrin,’ ‘‘The Flying Dutchman,’’ ‘‘Rienzi,’’ 
~Euryanthe,’’ “Der Freischtitz,’’ ‘‘Faust,’’ the standard 
Italian operas of Verdi, Rossini, etc., for which he also 
trained the chorus. 


After nine years at Chemnitz, Scheel was called by 
von Biilow to Hamburg to drill the orchestra for concerts 
which he and the pianist alternated in conducting. He was 
a devoted admirer of von Bilow and the great pianist showed 
his appreciation in many ways. Years later, after von Bilow 
had retired, he offered to play at a concert given in honor of 
Scheel. ‘I do it once more,’’ he said, ‘‘as gratitude for a 
true colleague and friend.’’ He played the piano Concerto 
in E flat major, by Beethoven, and the Hungarian Fantasie, 


CoA 





dedicated to him by his father-in-law, Franz Liszt. This 
was one year before his death and was his last public ap- 
pearance as a pianist. Scheel also knew well Brahms, 
Tschaikowsky and Rubinstein. 

In 1892 Dr. Ziegfeld engaged Scheel to go to Chicago the 
next year and give historical concerts at the World’s Fair. 
The enterprise failed. He then took an orchestra to the 
Mid-winter Fair in San Francisco, under the name of the 
“Vienna Prater Orchestra,’’ in the winter of 1893. Later he 
gave daily concerts, and, shat two seasons, cycles of 
Afternoon Symphony Concerts. For a season he was en- 
gaged by Oscar Hammerstein and then he became the first 
leader of the San Francisco Orchestra. He introduced the 
great classical and modern works to the people of that city, 
who still speak admiringly of him and remember his suc- 
cess. After ie years in San Francisco, Scheel came to Phila- 
delphia, and was discovered at Woodside Park, conducting 
his “‘New York Orchestra.’’ The newspaper criticisms 
were most flattering. 

The following pen sets of Mr. Scheel has been given 
by a man who played under his leadership and saw him 
under many conditions. 


‘A tall man, robust, large-framed, something more than spare, a 
little less than stout; a back and broad shoulders in strikingly good 
proportion, and a head poised ite them in easy dignity. The large 
hands are full of character, delicately formed, refined, noticeably 
plastic and adaptable. 


‘““A dark-brown military moustache and a prominent nose stand 
out clearly under a typical, high, German forehead and coiffure. 

‘In his brown eyes an infinite variety of expressions are lurking. 
From humorous twinkles that are irresistible, to flashes of fire and 
scorn that never miss the mark, they assume new and rapidly fleeting 
phases with every phase of music or speech.”’ 


Many stories are told of Fritz Scheel’s early efforts with 
amateurs and with a group of musicians, strange to him, for 
in those days the requirements for orchestral players were 
not the present ones, and there were many obstacles to over- 
come. His ear was absolutely correct, and he often told the 
players when tuning was needed. He was on occasion 
obliged to use mechanical strategies to insure the proper 
intonation. A close friend of his tells the following 
anecdotes: 


[28 ] 


“At the first rehearsal for the Philippine concerts, one of the numbers 
contained a difficult trumpet part, which seemed impossible for the 
first trumpet player, to play. Scheel postponed the rehearsal of this 
number until the next day, to allow him time to practice, but next 
day he could do no better. So the part was given to the second trumpet 
very much to the humiliation of the first player. But though very 
stern, Scheel was also very sympathetic with his musicians, and he 
realized what the feelings of the man must be. He therefore addressed 
the orchestra, in his usual formal way, and called for the attention of 
the players. Then turning to the first trumpet player, he remarked: 
‘I have been listening to your playing for the last two days, and I 
feel sure it is not your fault that you could not play that one part in 
the composition. I notice that whenever you play a note in which 
the middle valve of your instrument is used, you have no difficulty 
in playing the part which you were unable to do before.’ This inci- 
dent was told by the player, who took his trumpet to his instrument- 
maker and had one-sixteenth of an inch taken off the middle valve; 
with the result that, he could play parts that he never could play 
before. He then remarked, ‘It matters not what happens between 
Scheel and me; I will always take off my hat to him, and say ‘Master’.’ 


“On another occasion the tympanum was not in tune. Scheel 
stopped the orchestra and asked the tympanist to tune his instrument. 
When the man started to turn the keys, Scheel said, ‘No, it is not 
on that side; it is on the right-hand side of the drum,’ showing that 
he, at the distance of a great many feet, could tell that the false 
vibrations were coming from the right side of the drum. 


‘At one of the rehearsals the harp pea had trouble with her 
part. Scheel said, ‘Skip that one chord and you will only have to 
change your pedals twice in place of five times.’ 


‘He also had the peculiar faculty of being able to get the effect of 
instruments that were not in the orchestra by the combination of 
other instruments that would give the same tone. The writer remem- 
bets very distinctly Scheel’s using the French horn and the ‘cello 
together to play the third bassoon part.”’ 


This brief account of the first leader of the Philadelphia 
Orchestra explains why the Executive Committee pinned 
its faith to Fritz Scheel. 


As the beginnings of the orchestra are recorded, how 
delightful it is to music lovers to know that the Musical 
Fund Society, itself a bold pioneer eighty years before, spon- 
sored this most daring enterprise of our musical history. Dr. 
Dunglison, its president, presiding in the Orpheus Rooms 
On a spring afternoon in 1900, gave the blessing of the 
first Philadelphia Orchestra to the present Philadelphia 
Orchestra. Like Briinnhilde, herself shorn of godly powers, 


[29 ] 


sending forth her hero to do great deeds, so the Musica! 
Fund Society, no longer composed of active musicians, sent 
forth the young orchestra to conquer the musical world. 
No magic rings, or swords, or helmets were given to aid it 
in surmounting difficulties. The only magic formulas known 
to all the people interested were hard work and an invinc- 
ible spirit. 


[30] 


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Shee 


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© Allen Drew Cook 


FRITZ SCHEEL 


CuHapter III 


Earzty YEARS 


With the first steps safely passed and the Philadelphia 
Orchestra organized, the period of financial difficulty began. 
In 1901-1902 fourteen pairs of concerts in the regular series, 
and a total of fifty-two concerts for the season were given. 
The deficit jumped from $14,000 to $72,000. Everything was 
quadrupled except the audience. That remained almost sta- 
tionary. Twenty years after Theodore Thomas's time Phila- 
delphia was still not ready to attend symphony concerts or 
support an orchestra at any general sacrifice to its own purse. 
The general attitude was that such a project must be sup- 
ported by a few persons who had time and money to spend. 
Indifference was widespread. 

Scheel early saw the need of traveling to make the orches- 
tra known, especially in New York and Boston, as he real- 
ized that the saying about the prophet held good for orches- 
tras as well as for persons. He was faced with the fact that 
the Association could not see its way to send the orchestra 
to large cities. Appearances out of town were undertaken as 
early as 1901-02, in cities in Pennsylvania and New Jersey. 
During the next season New York, Baltimore and Washing- 
ton were visited. : 

He well knew, however, that his work with soloists 
would bring the orchestra fame, and much effort was ex- 
pended in preparing accompaniments. A case in point was 
the time that Ysaye was the soloist and was playing a Bach 
Concerto. At the end the violinist stood like a statue until 
the orchestra had finished. When Scheel went off the stage, 
Ysaye kissed him on both cheeks and said that the accom- 
paniment was the finest he had ever had. Shortly after this 
a member of the Boston Orchestra told one of our violinists 
that Ysaye had been booked to play the Bach Concerto with 
his orchestra; but after starting it he stopped the rehearsal 
and said: ‘‘Not after the Philadelphia Orchestra will I 
play the Bach Concerto,’’ and another concerto was sub- 
stituted. 


cra 


With artistic ambitions ever growing, it was discovered 
that some of the needed instruments were not to be found 
in the city and in addition to this a number of players would 
not accept the terms of the contract. The situation became 
acute, so in the summer of rgor, and again in 1902, the con- 
ductor was commissioned to seek musicians in Europe. 

When it became evident that the Philadelphia Orchestra 
was going to be permanent, application was made in 1902. 
for a Charter* for the Association, which was granted on 
January 5th, 1903, to the following persons, only nine of 
whom are now living: 


GrEorGE BurRNHAM, JR. Epwarp G. McCotiin 

A. J. Cassatt THomas McKean 

Joun H. Converse CLEMENT B. Newsoip 
Ecxrzy B. Coxe, Jr. James W. Paut, Jr. 

Witu1aM L., Exxrns Mrs. Frank H. RosENGARTEN 
Mary K. Gisson RicHARD RossMAssLER 
CLEMENT A. Griscom EpcGar ScotT | 
Mrs. ALFRED C. Harrison Simon A. STERN 

Joun H. INcHAM ANNE THOMSON 

Otiver B. Jupson ALEXANDER VAN RENSSELAER 
Epwarp I. KerFrer Henry WHELEN, JR. 

C. HartMan KuHN P. A. B. WipENER 


From the beginning Scheel inaugurated the policy con- 
tinued ever since, of putting the orchestra in the lead artis- 
tically. ‘‘First,’’ performances began almost immediately. 
Three years after the formation of the orchestra he gave 
the first complete Beethoven Cycle ever presented in Phila- 
ea Five successive concerts were devoted to this, 
ending with the Ninth Symphony, in which the Mendels-. 
sohn Club participated. This event was preceded by a series 
of five Young People’s Educational Concerts with lectures, 
by William J. Henderson, William F. Apthorp, Louis Ci 
Elson, Hugh A. Clarke and Henry E. Krehbiel, whose sub- 
ject was ‘‘Beethoven.’’ Other lectures were given on the 
same subject on the days of the concerts. | 


PROGRAMMES OF THE BEETHOVEN CYCLE ‘ 
| First Concert, Friday, March 20th, 1903 ’ 
t.SOVertUurC. i nest ne eee ‘Egmont,’ E major, Opus 84. 


2. Symphony No..8.. 0.000. 053. F major, Opus 93 
4. symphony, NO-3)). 2254 aie) ae ee E flat major (Eroica), Opus 55 





*For Charter see Appendix A. 


Pera 9 


Second Concert, Saturday, March 21st, 1903 


OSS A ea ‘“Coriolanus,’’ C minor, Opus 62 

ME IVEINOG El oe he ee eck edict ee less C major, Opus 21 

ai BE epaony oe ge oe ea F major (Pastorale), Opus 68 
Preceding lecture by Hucu A. Crarxet, Mus. Doc., at 3 o'clock, 


Saturday afternoon, at the Broad Street Conservatory, 
1329 South Broad Street, Gitpert R. Comps, Director 


Third Concert, Tuesday, March 24th, 1903 


PMO CEC CUM es ek. oh ee bs “Fidelio,’’ C major, Opus 72 
BR NOM te a ek ese D major, Opus 36 
co 0 USS C minor, Opus 67 
Preceding lecture by Puitip H. Gozpp, at 3 o'clock, 

Tuesday afternoon, at the Assembly Hall of the 

Sternberg School of Music, 10 South 18th Street 

Fourth Concert, Wednesday, March 25th, 1903 
MCC CL ORG ee a ae es as ““Leonore’’ No. 2, C major, Opus 72 
EME TE IPN A eu ese cine ob B flat major, Opus 60 
Co AETV ELT OU (G20 ge A major, Opus 92 


Preceding lecture by Hucu A. Ciarxe, Mus. Doc., at 3 o'clock, 
Wednesday afternoon, at the Broad Street Conservatory. 


Fifth Concert, Thursday, March 26th, 1903 


RU CORIC ho eas bok alee ss ‘““Leonore’’ No. 3, C major, Opus 72 
2. Concerto for Piano and Orchestra............... E flat, Opus 73 


Constantin von Sternberg 
RM OT ON QS )is oa iciSic ieee le ee ee D minor, Opus 125 
Preceding lecture by Puixie H. Goepp, at 3 o'clock, 
Thursday afternoon, at the Sternberg School of Music 


Musical Courier, New York, March 25th, 1903: 
* * * * xX 


‘The cycle was to crown the third season of the Philadelphia Orches- 
tra’s successful existence, and for many months, the leader, the 
orchestra, the manager and the committees have been busy in the 
endeavor to make these five concerts matchless in performance and 
memorable in historical significance. 

“The cycle was projected as an art undertaking pure and simple. 
Profit was a secondary consideration. Flamboyant advertisement was 
eschewed. There were announcements dignified and to the point. The 

_ prices were put within the reach of the student and the poor lover of 
music. Society was asked to patronize at the box office, but not on 
the programme. It is thus apparent that never in the musical life of 
America has there been conceived a project more ideal, more artistic 
and more utilitarian than this Beethoven Cycle in the City of Broth- 


aha. 


erly Love. Fritz Scheel is not overshadowed even by the great Joseph 
Joachim, who together with three famous fellow musicians, proposes 
next summer to play all of Beethoven’s string quartets at a musical 
festival in Germany.”’ 

* * KE * * 


‘Beethoven's ‘Coriolanus’ overture was played by the New York 
Philharmonic Orchestra this season. The Filharmonic Fathers should 
have been provided with free transportation to Philadelphia in order 
to learn how one conductor can mar and another make the same com- 
position. This Philadelphia Coriolanus was a hero indeed, who walked 
with erect head and proud chest. There was no rheumatism in his 
knees and there was no crick in his back. When his mother pleaded 
she spoke in accents human and loving. Her voice was softly attuned. 
It sang a song that Coriolanus did well to heed. Scheel’s graphic 
characterization made the Philharmonic performance appear in the 
memory like almost a travesty.”’ 
* * *K *K 


. { 
Musical Courter, April 1, 1903: | 
oe) oe 
“At the end, when the composer abandons absolute music and turns : 
to song, Philadelphia’s own distinguished choral body, the Mendels- 
sohn Club, came to the support of the musicians, and the beautiful 
‘Hymn of Joy’ was brilliantly sung. As a quartet for the solo part, 
Mrs. Marie Kunkel-Zimmerman, Mrs. Osborne, Nicholas Douty and 
Mr. Schurig did brilliant work. Altogether the playing of this Ninth 
Symphony formed a fitting climax to this memorable week devoted 
to the great master’s own musical history.”’ 


* * K KA * 


‘After the performance of the overture, Scheel was presented with a 
floral wreath, lyre and harp, and John H. Converse on behalf of the 
Directors of the orchestra, bestowed upon him a bronze bust of — 
Beethoven, in well chosen words of compliment and congratulations.” 


Scheel’s one thought was the artistic development of the 
orchestra. The story is told of a time when new members of 
the Board found that the concerts were being given at a © 
tremendous loss. They at once criticised the quality of the 
music, and said, ‘‘The programme must be changed; you are 
giving too high-class music for the people, and they won't — 
stand it.’’ The Executive Committee therefore decided that 
Mr. Scheel should put waltzes on his symphony programmes; 
and a meeting was arranged with him. This was in the early © 
days when his English was less fluent than later, and his 


[34] 





understanding of the language less keen. It took him some 
minutes to find out the real purpose of the Committee. Then 
he expressed himself in a very formal way—somewhat in 
this wise: ‘‘Gentlemen, I am the head of the department of 
music of this association. I am elected by you. You repre- 
sent the business end of this association; I stand for art. I 
cannot allow any one to interfere with my programme. If 
my programme and my management of the musical side of 
the association does not meet with your approval, you may 
get another conductor; but as long as I am conductor of the 
Philadelphia Orchestra, waltzes will not be played on a 
symphony programme. ’Hespokesoemphatically that there 
was no recourse and the subject of waltzes at the regular 
series was dropped. 

After this decision, however, Mr. Scheel suggested giving 
popular concerts. The committee immediately accepted this 
offer, and plans were made for five. At the last minute, 
when the sale at the box office was found to be exceed- 
ingly small, it was considered necessary to call upon outside 
organizations to make the concerts a financial success, so 
they were given for the benefit of various charitable organi- 
zations, such as the University Hospital, Hahnemann Hos- 
pital, St. Christopher's Hospital for Children, and others. 

The first Popular Benefit Concert for the Men’s Medical 
Ward of the University Hospital was put in charge of the 
‘Benevolent Aid Society’ of that ward. This committee, 
with Mrs. William W. Arnett, as Chairman, and Mrs. S. 
Naudain Duer, as Vice-chairman, at ten days’ notice secured 
one thousand patronesses and sold out the house, David 
Bispham having been secured as soloist, anid a popular pro- 
gramme having been announced. This was the first time 
people representing a so-called ‘‘Opera Audience’’ had 
heard the Orchestra. In 1905 this same Committee secured 
the orchestra and gave an afternoon of Music‘in the Hor- 
ticultural Hall. Tea was served at tables, and two pro- 
grammes, with an intermission, were given. In each of 
these events about one thousand dollars each was cleared 
by the orchestra and the Men’s Ward. While these efforts 
were not entirely consistent with the dignity of a great 
orchestra, the financial situation in which the management 
found itself made such overtures for money making and 
advertising advantageous. 


[35 ] 


The Press, November 12th, 1902: 
“PHILADELPHIA ORCHESTRA 


‘First PopuLaR Concert A GREAT Success—BisPHAM THE SOLOIST 
‘The first popular concert of the Philadelphia Orchestra at the Acad- 
emy of Music last evening was a great success, not only from the 
financial point of view—the proceeds being for the benefit of the 
University Hospital—but from the artistic, the soloist, Mr. David 
Bispham, coming in for a special word by reason of his familiar 
finesse as an interpreter of aria and song.”’ 


PROGRAMME 
Gane GOLDMARKA, «io eehnuh creas Mulan eee Overture ‘In Spring’’ 
WAGNER. SAP We tuiy eset aan Pilgrim’s Chorus from ‘“Tannhauser”’ 
(ay | WAGNER) Uiaiaw cine Orne “Evening Star’’ from Tannhauser 
Cb) VaR DI (oe I, ee Page Song from ‘‘Falstaff”’ 
JOHANN OTRAUSS...0. US. siping ot eae ‘‘Danube Maiden’s Waltz’’ 
BRAHMS) 04 5cn WG cea ee aan Hungarian Dances Nos. 1 and 2 
BRRTHOVEN <2 cic g coer Ale ae Overture ‘“‘Leonore’’ No. 3, Op. 72 
C2.) SCHUMANN 34; soy ee deeence al ay on eee ‘The Two Grenadiers’’ 
Cb) ScHopert:.).0 S30, 2U ae ‘Hark, Hark, the Lark’”’ 
CPRTEG oe ee Ge ‘‘Ase’s Death,’’ ‘‘Anitra’s Dance’’ 
(For String Orchestra) 
(2) GouNODe ani ee ee ‘Oh That We Two Were Maying”’ 
(b) H. AH. Werzuee. 9.20). 404 yay “Killiekrankie”’ 
(c) DAMROSCH Ys 60). so gs ak ay oe “Danny Dever’ 
Liszrt si, hyena eee eae an “Hungarian Rhapsody’’ No. 2 


Mr. Davin Bispxam, Soloist 


In the early days rehearsals were held in the banquet 
room of Musical Fund Hall, and in the room of the Com- 
mercial Museum, through the courtesy of those organiza- 
tions. Later Odd Fellows Hall was rented, but since 1912 
the rehearsals have been held at the Academy of Music, by 
a special arrangement with the management, which has 
alwaysco-operated tothe fullest extent with the Association. 


Tue Strauss CONCERTS 


During the fourth season of the orchestra’s existence, 
the Executive Committee took the bold step of engaging 
Richard Strauss to appear with it in Philadelphia. Later, 
two appearances in Boston with the Philadelphia Orchestra 
were added, as it was learned that no guest conductor was 
permitted to conduct the Boston Symphony Orchestra. 

Strauss’s first American concert was in New York, where 
the practice of sending substitutes to rehearsals was com- 
mon. In the middle of ‘‘Don Juan’’ the orchestra broke down 


[36] 


and they had to EOP and begin again. Therefore, when Dr. 
Strauss reached Philadelphia, he was prepared for another 
such occurrence. He arrived for rehearsal in a perturbed 
state of mind, and proceeded brusquely to the conductor's 
stand. Mr. Scheel, however, had spared no pains in prepa- 
ration for the great event. The rehearsal was held at Odd 
Fellows Temple, in a small room, where the reverberations 
in the fortissimo passages were tremendous. After simply 
bowing to Mr. Scheel, Dr. Strauss began to lead. He had 
played but a few measures before he discovered an orchestra 
thoroughly proficient and well-rehearsed in his numbers. 
After playing a few bars he dropped his arms and allowed 
the orchestra to play on. There was an entire change in his 
manner. He turned to Scheel, and, throwing both arms in 
the air, exclaimed, ‘‘Famos!’’ Every few moments he cried, 
““Wunderschon!"’ “‘Ausgezeichnet!’’ After making one or 
two corrections in the parts, he stopped the rehearsal and 
became highly enthusiastic over the playing of the orchestra. 


THE PHILADELPHIA ORCHESTRA 


Fritz ScHEEL, Conductor 
Increased to 100 Performers for these Occasions 


Dr. Ricuarp Strauss 
Conducting his own Compositions, and 


Frau STRAUSS-DE AHNA 
Dramatic Soprano, accompanied by Dr. Strauss 


PROGRAMMES 


Friday Afternoon, March 4, 1904 


1. Franz Liszt..A Faust Symphony in Three Pictures (after Goethe) 


I. Faust (Allegro) 
II. Gretchen (Andante) 
III. Mephistopheles (Scherzo, Finale) 


2. RicHarp STRAUuss 
Songs with Orchestra: 
a. ‘‘Das Rosenband”’ 
b. ‘‘Liebes-Hymnus’’ 
c. ‘‘Morgen’”’ 
dae Gacilic * 
Frau Strauss-DE AHNA 
Conducted by the Composer 
3. Ricuarp Strauss... .‘*Tod und Verklarung,’’ Tone Poem, Op. 24 
Conducted by the Composer 


[37] 


Saturday Evening, March 5th, 1904 | 


1. JOHANNES BRAHMS........... Symphony No. 2, D. major, Op. 73 
I. Allegro non troppo 
II. Adagio non troppo 
III. Allegro grazioso (Quasi Andantino) 
IV. Allegro con spirito 


2. RicHARD STRAUSS 
Songs with Orchestra: 
Three Mother-Songs 
a. ‘‘Meinem Kinde’’ 
b. ‘‘Muttertandelei’’ 
c. ‘Wiegenlied”’ 
Frau STRAUSS-DE AHNA 
Conducted by the Composer 
3. Ricoarp Strauss... .‘*Till Eulenspiegel and his Merry Pan 
Pet 
Conducted by the Composer : 


Great preparations were made for this event and much 
money was spent, for Strauss not only received a large fee, 
but much had to be used for advertising. 


Philadelphia Inquirer, March 5th, 1904: 
‘*RicHARD Strauss AT THE ACADEMY 


‘First APPEARANCE OF THE FAMous COMPOSER MADE YESTERDAY | 
AFTERNOON. Hz Conpucts A FINE PERFORMANCE OF HIS OWN 
‘‘DEATH AND TRANSFIGURATION,’ AND His Wire Sincs Four Sones 


‘*There was a very large audience at the Academy of Music yesterday 
afternoon, when the Philadelphia Orchestra gave its last Friday 
afternoon performance for the current season. The occasion was made 
notable by the first appearance in this city of the famous composer, 
Richard Strauss, who had arranged to guide the orchestra through 
the mazes of the tone poem entitled, ‘‘Death and Transfiguration,” 
one of his best and most characteristic works; and it was rendered 
additionally interesting and important by the Philadelphia début of — 
Mme. Strauss-de Ahna, who has the reputation of being an excep- — 
tionally skillful and sympathetic interpreter of her distinguished 


husband's songs.”’ 
* * * + * 


“After his wife had finished her group of songs, and the enthusi- 
astic and long continued applause which her work had elicited had 
died away, Mr. Richard Strauss returned to the platform to conduct 
his own ‘‘Tod und Verklaerung.’’ He is a singularly modest and un- 
obtrusive looking man, with an appearance more suggestive of a 
school teacher than of a musician, and with nothing about him to 


[38] 





betray any large estimate of his own consequence, but there can be no 
question as to his ability as a conductor. That had already been indi- 
cated in the manner he played the accompaniments to his wife's sing- 
ing, but it was conclusively demonstrated by the way in which he 
conducted the orchestral feature of the programme. In its lucidity 
and balance, in its delicate sense of proportion; in its wide and preg- 
nant variations of light and shade; in the splendor of its climaxes 
and the salient force with which each detail was projected and each 
nuance given its proper value, his performance of “‘Death and Trans- 
figuration ’’ has certainly never been equalled inthiscity. It was a very 
great achievement and the audience rightly recognized it as such.”’ 


* * %+* KK 


Philadelphia Ledger, March 5th, 1904: 
“<StRAUsS CONCERT A GREAT SUCCESS 
‘““WARM GREETING FOR THE COMPOSER AND His WIFE 


* * * *K & 


“Strauss has a very precise beat, ordinarily quiet and undemonstra- 
tive and making very little use of his left hand; but when he wants a 
big climax for the brasses—and he is not afraid of noise—he conducts 
with his whole person. The orchestra knew the music perfectly and 
was absolutely responsive to every nuance.”’ 


City and State, March roth, 1904: 


‘The highest point, not only of the winter, but in a certain sense of 
all previous musical seasons was reached last week. 

“To have the most eminent musician—we use the word advisedly 
in the strictest sense—interpret his compositions with our own orches- 
tra in two concerts, certainly marks Philadelphia as one of the self- 
dependent musical centers of the world. But it was much more signifi- 
cant to hear the unstinted praise which Mr. Strauss bestowed on the 
orchestra after the concerts. On Friday, after the exalting perform- 
ance of ‘Death and Transfiguration,’ the composer seemed to forget 
his audience in the heartiness of his acknowledgments to the orches- 
tra. Indeed, we see no impropriety whatever in publishing the fact 
that Mr. Strauss was immeasurably better pleased with the work of 
our orchestra than with that of the New York orchestra, which he 
conducted last Thursday evening. On Tuesday he declared himself 
entirely contented with the single rehearsal for the Friday concert. 
It seems almost a pity that we Philadelphians cannot discover for 
ourselves this excellence of our own enterprise—that we must have 
the most distinguished musician of the day come from Berlin to tell 
us that we have a splendid orchestra, and, it may be added, splendid 
conductor. At any rate, the fact ought not only to be taken to heart 
by all of us, but we ought not to hesitate to boast bravely of this 
advantage of ours over New York.”’ 


[39] 


These concerts were repeated in Boston on March 7th and 
8th, where they had been well advertised and both houses 
sold out. But when the programmes were announced there 
was a cry of protest from the critics and musicians of that 
city. ‘Why should Boston have to listen to Fritz Scheel 
conduct a symphony on each programme?”’ The Executive 
Committee replied firmly that Boston had refused to have 
Dr. Strauss lead the Boston Symphony Orchestra, and now 
the Philadelphia Orchestra Association was giving Boston 
an opportunity to hear Dr. Strauss conduct as guest conductor 
of the Philadelphia Orchestra. The programme was not 
changed, but Philadelphia had to explain the stand she had 
taken even after the orchestra had reached Boston. 

Then a real contretemps occurred, trying enough to shake 
the strongest nerves. In those days, either moving orches- 
tras was more difficult, or the Philadelphia Orchestra was 
still too inexperienced a traveler to do so efficiently. When 
the hour for rehearsal in Symphony Hall arrived, there was 
no music and there were no instruments. They had been lost 
en route. The explanation arrived at after much telegraph- 
ing was that these valuable possessions had been placed in a 
car too high to pass under the bridges on the regular route, 
so it had been re-routed and would probably not arrive until 
evening. This was a predicament for a young orchestra, 
none too easy in its mind at the prospect of playing in the 
city of the Boston Symphony Orchestra; and now deprived 
of rehearsal in a hall new to the conductor, as well as to 
every player. The day passed, evening came, the audience 
assembled, and still no instruments Twenty minutes after 
the concert hour, heavy teams were heard outside. The day 
was saved, the instruments were hurriedly put in place, the 
men went on, and the symphony, Brahms’ No. 2, began. 
The Philadelphians present say that the orchestra never 
played so well, and at the end of the symphony Scheel was 
recalled six times. Mr. Elson, a most friendly critic, who 
had given a dinner for our conductor the night before, 
rushed behind, saying, ‘Scheel, you have conquered Bos- 
ton.’ At a reception given for the two conductors after the ~ 
concert, Mr. Philip Hale said of Scheel: ‘‘He has the right 
arm of Thomas and the left arm of Nikisch.”’ 


[ 40 | 





Boston Herald, March 8th, 1904 (Philip Hale): 


“The performance of the orchestra under Mr. Scheel was admirable. 
. . . .Here is a conductor to be respected for many qualities, for his 
mastery of mechanism and for his genuine and poetic feeling... . 
There is no doubt that Mr. Scheel is an accomplished drill master. 
His patience and intelligence in rehearsal were shown by the fine 
performance of the supple orchestra under his direction.”’ 


Boston Evening Transcript: 


‘Mr. Scheel is unquestionably a conductor of parts, whom one would 
gladly know better. . . . The wonderful beauties in the scoring of 
Liszt's symphony were all made the most of, and under the hands of 
Mr. Scheel the dull passages became less hopeless than usual. Of the 
dramatic points Mr. Scheel took full advantage and with the advent 
of the Gretchen theme in the third movement he made an electri- 
fying effect.”’ 


Boston Daily Advertiser (Louis C. Elson): 


“Musical Boston was waked up last night! Those who braved the 
elements were rewarded by a concert which for novelty, for excite- 
ment and for educational value has seldom been equaled even in our 
symphonic city. 

“The Philadelphia Orchestra proved itself to be the best that has 
visited Boston since Theodore Thomas brought his band here. 

“Its conductor, Fritz Scheel, is an orchestral genius. He evidently 
knows his Brahms thoroughly, and by the time he had finished the 
first movement of the D major symphony, he was clasped to the 
Bostonian heart. To win a triumph in Brahms in a city where all our 
conductors are Brahms scholars (and our auditors too, for the matter 
of that), means very much. Mr. Scheel was recalled with enthusiasm 
... . The Philadelphia Orchestra has proved itself one of the im- 
portant orchestras of the United States.”’ 


A delightful anecdote is told about this visit to Boston. 
After the success of the evening concert, Dr. Strauss, full 
of enthusiasm, told Mr. Scheel that he must play the 
Domestica Symphony at its first performance in New York, 
and they arranged to play it together on the piano from the 
orchestral score in Symphony Hall the next morning. Scheel 
took the score home with him and the next morning the 
first playing of the Domestica in America began, Dr. Strauss 
taking the treble and Scheel the bass. In Strauss’s excite- 
ment he knocked the music off the rack just as the fugue 
started in the bassoons, but Scheel continued to play. Strauss 
turned to watch him, but still he played. The music was 
replaced and they finished the symphony. Dr. Strauss then 


[ 41 ] 


discovered that Scheel had spread the score on a trunk and 
studied it all night, only closing the book at daylight. 


Shortly after this Dr. Keffer received the following letter: 


‘*Esteemed Doctor Keffer: 


“You wish from me a leaf for your Album. I could not give same a 
more beautiful contents than to give again expression of my greatest 
pleasure over the splendid performance of the Philadelphia Orchestra, 
with which I was so fortunate to obtain such extraordinary successes 
in Philadelphia and in Boston. 

“But the greatest merit of this success belongs to your excellent 
Kapellmeister Fritz Scheel, who had trained his young and music- 
loving orchestra so eminently, and who had prepared so well for my 
concerts, that I was able to give the performance, satisfying my 
strongest wishes, of my difficult works, after only one repetition. 
Therefore, to Mr. Scheel, my special thanks and felicitation to which 
I join my heartiest wishes for further flourishing and prospering of 
the Philadelphia Orchestra under his energetic guidance. 

‘“With especial esteem and best greetings also from my Wife, 


“Yours sincerely devoted, 
(Signed) Dr. RicHarp Strauss 
‘New York, the 28th of March, 1904.”’ 


The next event out of the ordinary in which the orches- 
tra took part was the Special Concert conducted by Felix 
Weingartner, about a year later. 


THE PHILADELPHIA ORCHESTRA 
Fritz ScHEEL, Conductor 
Special Concert, February 16th, 1905 
Fetix WEINGARTNER, Guest Conductor 


Disetso canis eee Symphonic Poem ‘‘Triumph and Death of Tasso’’ 
WEINGARTNER .1).\c, ea eee Symphony No. 2, E flat major 
Grtiew 62 ee Overture “‘Iphigenia”’ 
MOZART, Suis. 125s ely Sa Overture ‘‘Zauberfléte’’ 
WEBER 63. wists sous a hg a Overture ‘‘Oberon”’ 


He was well received by the audience and by the critics, 
one of whom wrote thus: 


Public Ledger, February 17th, 1905: 
“WEINGARTNER CONCERT"”’ 


‘‘“GERMAN CourT ConpucTor’s First APPEARANCE HERE 
‘*Drrects PHILADELPHIA ORCHESTRA IN His Own 
**SECOND SYMPHONY’ AND OTHER WorkKsS 


‘‘One of the incidental advantages of a permanent concert orchestra 
is the opportunity afforded from time to time to invite distinguished 


[ 42 ] 





musicians to conduct performances of their own compositions, or of 
other works for which they may have a particular penchant. We had 
an interesting example of this last season in the concerts of the Phila- 
delphia Orchestra at which Richard Strauss directed that expert band 
of executants in his own interpretation of some of his tone poems. 
Last evening in the Academy of Music, Felix Weingartner—less widely 
known as a composer than as a chief orchestral authority in Germany 
at the present day—similarly conducted the orchestra in a perform- 
ance of his latest symphony, with an accompanying programme of 
his own choice, representing classic, romantic and modern music. 

‘In the remarkable organization of accomplished and enthusiastic 
musicians which has grown up within a few seasons under Fritz Scheel’s 
masterful direction, the leader of the Berlin Court Orchestra found a 
perfect instrument of expression ready to his hand. It is not, of course 
so large an orchestra as that to which he is accustomed, but there 
could be no doubt that it played the music exactly as the conductor 
wished it played. While last evening’s concert was thus in one sense a 

lorification of the Philadelphia Orchestra and its distinguished 

eae the interest of the occasion was centered entirely in the guest 
and what he might have personally to express. 

‘Herr Weingartner is a tall, slim man, erect and precise, but with 
a winning personality that puts him at once in harmony both with 
the orchestra and his audience. His manner in conducting is usually 
quiet and firm, but he employs a great variety of detailed gesture that 
is expressive and obtains its results. He plays everything with a 
strongly marked accent, with more care for clarity and precision than 
for suavity, and makes very strong and abrupt contrasts with tre- 
mendous climaxes and with sharp periods. There is not a great deal 
of attention to grace of phrasing or delicacy of nuance, but evidently 
the strong effects he gets are what he thinks important.”’ 


* * * * x 


‘“Weingartner owes much to Liszt and the Weimar days and it is 
natural that he should give a fine performance of the ‘‘Tasso’’ with 
which the concert opened. This symphonic poem is one of so great 
dignity and beauty as to deserve more frequent hearing. The illness of 
Saal, the first ‘cellist, left a note lacking in the beauty of the per- 
formance, though the intrinsic worth of the music made it a pleasure 


to hear.”’ 
* * * * * 


‘After the concert a reception was given to the guest conductor at 
the home of Mrs. Spencer Ervin.”’ 


During this season Mr. Scheel presented his first pro- 
gramme of House Music at a reception held in his honor, 
and the next winter he gave six such concerts at the resi- 
dence of Mrs. Spencer Ervin, asa compliment to the Women’s 
Committee. These concerts much resembled the concerts 
given by Francis Hopkinson and his friends in the early 


[ 43 ] 


days of Philadelphia, but were a complete and delightful 
novelty in 1905. 

The most important evening of this kind was the concert 
given by Mr. Scheel and Philadelphia Orchestra musicians 
for Mrs. Roosevelt and her guests. 


PROGRAMME 


House Music Concert 
Tue Waite House, WasHincTon, D. C. 


Monday Evening, January 29th, 1906 


VOLKMANN..... Serenade No. 3, D minor, Opus 67. Violoncello Solo: 
Alfred Saal 

BEETHOVEN..... Rondino for two Oboes, two Clarinets, two Horns 
and two Bassoons 

MozaR Tub He's From the Quintet, Opus 108. For Clarinet and String 
Quartet 

SVENDSEN....... From the Octet, Opus 3, for four Violins, two Violas 
and two Violoncellos 

STR ALSSC Care We Serenade CE flat major) Opus 7, for two Flutes, two 


Oboes, two Clarinets, four Horns, two Bassoons, 
and Contra-Bass or Bass Tuba 


*‘DIRECTOR SCHEEL AND THIRTY-[ Wo MEMBERS OF 
PHILADELPHIA OrcHEsTRA Deticut Mr. AnD Mrs. RoosEvELtT 
AND GUEsTs AT WHITE Hous 
CHARM PRESIDENT BY [THEIR Music 


‘Thirty-two members of the Philadelphia Orchestra, and Director — 


Fritz Scheel, made a big impression on administrative, diplomatic — 


and social Washington last Monday evening, when they gave one of 
their house-music concerts in the White House, and if you ask anyone 


of those thirty-three men what they think of President Roosevelt you — 


will hear enough compliments to fill several bulky volumes. 

“They had a delightful time, did these Quaker City symphony 
players, and so favorably were they received, that it is probable that 
they will be heard in the White House several times before the big 


orchestra disbands for the summer and the members scurry away to ~ 


all parts of the earth. 


‘The full orchestra was not taken to the White House. Instead — 
Director Scheel took his baby orchestra, consisting of six first violins, — 


four violas, four cellos, two double basses, two flutes, two oboes, two 


clarinets, one bass clarinet, three bassoons and the horn quartet, and — 


in that party there was but one American. Most of the players were 
Germans. The horn players were Frenchmen. 


“President and Mrs. Roosevelt gave a small dinner party and after- — 
wards a musicale. The dinner guests numbered about twenty, while ~ 
over four hundred came for the musicale, including many of the most © 


[ 44 | 





a 


| 





| 


prominent men and women in Washington. It was a gay scene with 
all the army and naval officers, and the members of the various Diplo- 
matic Corps in their gaudy full evening dress. The only Philadel- 
phians there were Mrs. A. J. Dallas Dixon and Miss Frances A. Wister. 

“The orchestra men drove to the White House at 9.30 P. M. and 
at 10.15 they entered the East Room,where all the guests were assem- 
bled. President Roosevelt and Mrs. Roosevelt sat in the front row and 
listened with the gravest attention. 

** * * * 

“Then Mr. Scheel played his rat-a-tat-tat baton solo on his stand, 
and the thirty-two men broke into harmony as easily and gracefully 
as a flock of sea gulls lights upon the ocean. 

“The concert was to last one hour—no more and no less—and dur- 
ing that hour the audience was treated to Volkmann, Mozart, Svend- 
sen, Beethoven and Strauss in solos, quintets, octets, sextets and alto- 
gethers. Alfred Saal was the soloist—he with the long blonde hair 
and the marvelous cello. He played as only Saal can play and his 
serenade in D minor by Volkmann was one of the most delightful 
numbers of the evening. 

* * %# #K & 

“Immediately after the closing number, President Roosevelt ex- 
pressed the wish to meet the musicians, and so one by one the men 
marched up and shook hands with the greatest American of the day. 
Each man received some kind word from the President, especially 
Director Scheel, and to the latter he expressed his deepest thanks and 
congratulations for having furnished such a delightful concert."’ 

* * * Kk * 

‘The next afternoon the full orchestra played a concert in Columbia 
Theatre before an audience that crowded the house and again won 
decided success. Just before the concert, Director Scheel received a 
huge box of roses and carnations from President and Mrs. Roosevelt.”’ 


All was not smooth sailing during the early years or for 
years to come. Scheel had enemies, so did the orchestra. 
Many people were not pleased when plans other than their 
own succeeded, and there was unpleasant comment from 
time to time. This was gradually overcome by the sincere 
attitude and the industry of the conductor and the improve- 
ment in the playing of the orchestra. The Beethoven Cycle, 
the Strauss concerts and the appearance of Weingartner were 
helps to popularity, not a sudden popularity, but one 
achieved by real worth. Scheel was fast making a place for 
himself in the musical life of the city, and in 1905 he was 
engaged as leader of the Orpheus Club and of the Eurydice 
Chorus to succeed Dr. Frank Damrosch. This put added 
burdens onto him, but it was not understood then that the 
strain of leading an orchestra is enough for one man. 


[ 45 ] 


Recognition also came from outside of Philadelphia. 
Scheel hdd the compliment paid him of being invited to 
lead two concerts in New York in place of Theodore Thomas, 
who had recently died, which concerts were to mark the 
semi-centennial of Thomas’s connection with the Philhar- 
monic Orchestra. Unfortunately, conflicting dates made 
acceptance impossible. He was even spoken of as a possible 
successor to Thomas by Mr. Louis Elson, of Boston, who 
said: 

‘‘There is a most thorough and progressive musician, who is perfectl 
fitted for the Chicago position—Mr. Fritz Scheel ‘of Philadelphia. 
This conductor, although he has been in America but a short time, 
has already won his spurs and proved his right to the highest orches- 


tral position. He is not too conservative, an essential point with an 
orchestral conductor of the present. 


In the meantime the concerts in Philadelphia were con- 
stantly improving, and the number had increased from six 
single concerts to eighteen pairs in six years. Out-of-town ~ 
concerts in nearby places had been attempted with varying 
financial results. The Board of Directors, the Executive ~ 
Committee and various Sub-committees worked hard to ad- 
vance the interests of the orchestra. 

The standard of excellence was kept at a high point. Fritz 
Scheel, ever.ambitious for this venture in America, and pos- 
sessing a keen artistic sense, produced programmes of excel- 
lence, which equalled and sometimes surpassed those of 
older American orchestras. 


[ 46 ] 





CHAPTER IV 


THe WoMEN’s COMMITTEES FOR THE 
PHILADELPHIA ORCHESTRA 


To the Philadelphia Orchestra Association belongs the dis- 
tinction of first having promulgated the idea of procuring 
assistance from Women’s Committees. 

These were formed to promote out-of-town concerts in 
Harrisburg, Lancaster, Allentown and Trenton. In 1902-03, 
during the second season of concerts in those cities, it 
became evident that help was needed to increase interest in 
the concerts and procure a larger audience. Miss Mary 
Sergeant, sister of Mrs. A. J. Dallas Dixon, of Philadel- 
phia, undertook this work in Harrisburg; Miss Hall became 
the Chairman in Trenton; Mrs. A. J. Steinman, in Lan- 
caster; and Mrs. Robert E. Wright, in Allentown. These 
committees worked hard to make the Philadelphia Orches- 
tra concerts successful. 

No help of this kind seems to have been thought of for 
Philadelphia until the financial situation became so acute 
in 1904, as to endanger the life of the orchestra. 


Tue WoMEN’s COMMITTEE FOR THE PHILADELPHIA 

ORCHESTRA AND THE First TEN THOUSAND 
Fach year had become more difficult financially and while 
the orchestra was learning many tunes the Board of Direc- 
tors could remember but one. They constantly repeated the 
same question: ‘‘Where shall we get the money?’ with 
variations. The Academy was not sold out; if it had been it 
would not have paid expenses. Nobody wanted to hear the 
Philadelphia Orchestra. The general attitude was that there 
were too many concerts, that even the Boston Symphony 
Orchestra gave only five in a series, and that only a few ex- 
treme musical enthusiasts went to the two Boston series, a 
total of ten. The Executive Committee and the Board of 
Directors spent hours discussing means of Pee more 
guarantors to meet the increasing deficit. Every improve- 

ment in players or special soloists meant money. 
The Guarantee Fund for a three-year term expired in the 


[ 47 |] 


spring of 1904, and there would be an extra deficit of 
$16,000. The Association was facing a crisis. No contracts 
could be made without some financial background. 

Just at this moment an idea occurred to Mrs. Edward G. 
McCollin, wife of a member of the Executive Committee. 
After approaching several friends on this subject and failing 
to interest them, Mrs. McCollin one day spoke to Mrs. 
A.J. Dallas Dixon, who persuaded Mrs. C. Stuart Patterson 
to call a meeting. The result was that a number of women 
met at Mrs. Dixon’s house, 709 Pine Street, to discuss plans 
to assist the orchestra, on March 11th, 1904. Mrs. Dixon 
was elected president and on March 13th, a Women’s Com- 
mittee of twenty was formally organized. The officers and 
directors were:* 


Mrs. A. J. Datias Dixon, President 

Mrs. Spencer Ervin, First Vice-president 

Mrs. THomas S. Harrison, Second Vice-president 
Mrs. E. G. McCo tun, Corresponding Secretary 
Mrs. E. Coteman Lewis, Recording Secretary 
Mrs. ALFRED REGINALD ALLEN, Treasurer 


Directors 
Mrs. S. NaupaIn DuER Mrs. Gzorce A. HuHN 
Mrs. THropore N. Ety Mrs. Epwarp I. Kerrer 
Mrs. SAMUEL S. FELs Mrs. W. L. McLean 
Mrs. Simon B. FLEIsHER Mrs. Joun B. MIzzs 
Mrs. J. M. Gazzam Mrs. N. DuBois Miter 
Miss BeuLAH HAcKER Mrs. Morris PFAELZER 
Mrs. WatTeR HorstMANN Mrs. GzorGcEe D. WIDENER 


Miss Frances A. WIsTER 


Later the following Honorary Vice-presidents accepted: | 


Mrs. Wm. W. Arnett, Mrs. George F. Baer, Mrs. Alex- 
ander W. Biddle, Mrs. John Cadwalader, Mrs. Alexander J. | 
Cassatt, Mrs. Charles B. Coxe, Miss Mary K. Gibson, Mrs. 
Austin S. Heckscher, Mrs. Charles Edward Ingersoll, Mrs. 
Thomas McKean, Jr., Mrs. C. Stuart Patterson, Mrs. Frank — 
Rosengarten, Mrs. Cornelius Stevenson, Miss Anne Thom- 
son, Mrs. Alexander Van Rensselaer, Mrs. Henry Whelen, Jr. 

The original of this letter is preserved in the archives of 
the Committee: 





*For present membership see Appendix K. 


[ 48 | 





MRS. ALEXANDER J. DALLAS DIXON 





*“Mrs. McCoiiin 
‘“‘Dear Madam: 


“I wish to say on behalf of the Executive Committee of the Phila- 
delphia Orchestra that our Committee is in hearty sympathy with 
the effort to form a Women’s Committee, and fully appreciates the 
kindness of the ladies who propose to form such a Committee in com- 
ing to the assistance of the Association, at a rather critical time. We 
fully endorse any measures you see fit to take in carrying out your 
plans. 

Yours very truly, 
Joun H. Incuam, Secretary 


“March 13, 1904.”’ 333 South 16th Street 


Committees on Guarantors, Boxes and General Subscrip- 
tions were formed and their labors began. 

The first work which the women undertook at the request 
of the Executive Committee was to secure $10,000, in new 
guarantees within the first month of its existence; the Exe- 
cutive Committee feeling that the best indication of a desire 
to continue the orchestra would be shown by an increase in 
the Guarantee Fund. 

The Committee at once went to the musical critics of the 
various Philadelphia newspapers and secured their hearty 
co-operation in the work of rousing the public to an appre- 
ciation of the musical and civic importance of the orchestra. 
Within theallotted time the Committee had not only secured 
more than $10,000 in new guarantees, but had received new 
orders for $5,000 worth of seats and boxes for the next sea- 
son. The Association thereupon decided to continue the 
orchestra for one more year, hoping that public interest 
would continue to increase. 

The Guarantee Committee pepo by Mrs. Dixon to 
raise this sum was composed of Mrs. Spencer Ervin, now 
Mrs. Harold E. Yarnall, Chairman; Mrs. Morris Pfaelzer, 
Mrs. Edward I. Keffer, Mrs. George D. Widener and Miss 
Frances A. Wister, Secretary. A careful plan was made for 
this attack upon the public purse and all the members of the 
Committee threw themselves into the task of raising this 
large sum for a little known and unpopular cause. 

Lists of prospective guarantors were compiled and each 
woman was assigned her quota of people to approach. The 
time was short, the pace was quick and the excitement was 
great. To at least one member it was a first experience at 


[ 49 | 


raising a large amount, but the novelty quickly wore off in 
the face of the continuous needs of the Association. 

The Committee on Seats and Boxes became active at once, 
and Mrs. McCollin as Chairman of the Press Committee 
attended most ably to the publicity. Numberless articles 
appeared describing the Committee and its activities, and 
the help of the pepe was very valuable. 

Another way of making the orchestra and the Committee 
known was the parlor meetings. These were held in various 
places, with speakers of influence in the community. The 
first of these took place at the residence of Mrs. Thomas S. 
Harrison. Addresses were made by Dr. Alfred C. Lambdin, 
Mr. Constantin von Sternberg, Miss Esther Kelly and Miss 
Wister. No money was asked for at these meetings which 
were held in all sections of Philadelphia and vicinity during 
many seasons. The fact that Philadelphia had an orchestra 
was the point emphasized, as there was general ignorance 


of its existence. Then its importance to the musical life of © 


the city and its needs were mentioned. Perhaps the most 
useful work next to procuring guarantors was the forma- 
tion of the Auxiliary. These women were elected and asked 
to become season seat holders. The reports of the sale of 
boxes and season seats show thousands of dollars secured in 


ee ee 


new orders during the first years and frequent comment is — 


made upon the improved appearance of the house through 
the filling of the boxes. The Friday house has been sold out 
for a number of years, but the Saturday house was a more 
difficult problem and only recently has been filled by season 
subscribers. : 


The list of activities was never-ending, and included — 
visits to music schools, circulars, appeals, the co-operation ~ 
of libraries, orchestra clubs, special rates for students, parlor 


meetings, of which Mrs. Keffer became Chairman in 1905, 
letters to friends in other cities where the orchestra was to 


appear and many more. The results were good. Between — 


1904-05 and 1907-08, the total sales of new orders for seats 


and boxes amounted to $29,670.00, and new guarantees 


amounted to $37,500. 


THe GERMANTOWN AND CHeEstNuT Hitt WoMEN’s COMMITTEE 


The activity of the Women’s Committee during its first 


year of existence and the great need of the Association 


[50 ] 





brought about the formation of a second Committee in 
Germantown and Chestnut Hill, on March 28th, 1905, under 
the leadership of Mrs. Francis Howard Williams, a woman 
prominent in every good cause. 


Mrs. Francis Howarp Witu1AMs, President* 

Miss ANNA Hazen HowE tt, Recording Secretary 

Mrs. Henry W. Raymonpn, Corresponding Secretary 

Mrs. Aucustus StouGHTon, Treasurer 

Miss Frances A. WisTER, Secretary for the 
Guarantee Fund 


No sooner were these women organized than they threw 
themselves enthusiastically into work in their section and 
have since co-operated with the Women’s Committee in 
every undertaking. They raised $26,825 for the Million Dol- 
lar Endowment Fund. 


Mrs. Williams declined to be a candidate for the presi- 
dency in 1916 and was succeeded by the Countess of Santa 
Eulalia, who still holds that office. The Committee has 
recently celebrated its Twentieth Anniversary. 


Tue West PHILADELPHIA WOMEN’S COMMITTEE 


Shortly afterwards, on April 6th, 1905, the spirit moved 
the women of West Philadelphia to form a third Committee. 
Mrs. C. Lincoln Furbush, daughter of Mr. and Mrs. Wm. 
Burnham, staunch supporters of the orchestra, organized it 
at her mother’s house, and became tts first president and the 
youngest of Women’s Committee presidents. 


The officers were: 


Mrs. C. Lincotn Fursusu, President* 

Miss MarGARETTA HincHMAN, Vice-president 
Miss HELEN Fercusson, Corresponding Secretary 
Miss Eprtu Scuorr, Recording Secretary 

Miss Grace ATLEE, Treasurer 


After one year of service Mrs. Furbush, Miss Schoff and 
Miss Atlee resigned, and Mrs. Monroe Smith, now Mrs. L. 
Howard Weatherly, Mrs. Charles L. Mitchell and Mrs. 
Samuel S. Fels succeeded them and still hold those offices. 


*For present membership see Appendix K. 


[52] 


This active Committee has constantly been inaugurating 
new plans. In 1915, to commemorate its Tenth Anniversary, 
it presented to the Association the stage setting completed 
in 1918, which was used until the new plans of Mr. Sto- 
kowski made a complete change of size and shape necessary. 


Entertainments of many kinds have been given and the 
Twentieth Anniversary was celebrated in May, 1925. 


Ture Mepis, CHEsTER AND West CHESTER WOMEN'S 
ComMMITTEE, SINCE 1923, THE DELAWARE COUNTY 
WoMEN s COMMITTEE 


At the Annual Meeting of the Women’s Committees and 
their Auxiliaries in April, 1911, Mrs. J. Claude Bedford, an 
active amateur musician, then living in Media, proposed 
that a Women’s Committee should be formed in Delaware 
County. She had become convinced that work of value could 
be done there and with the help of Mrs. Arnett, she formed a 
Committee with members from nine towns within twenty- 
five miles of Philadelphia, including West Chester, Glen 
Mills, Media, Wallingford, Swarthmore, Primos, Lans- 
downe, Darby and Chester. 


The task was a hard one. Many residents of the district 
were unable, on account of the distance and of poor train 
service, to attend the concerts. Yet there was enthusiasm 
and much hard work in Delaware County. After several 
years, Mrs. Bedford was obliged to relinquish her position, 
and Mrs. Matthew H. Cryer, of Lansdowne, succeeded to 
the office of President, which she still retains. The work of © 
this Committee has been extraordinary and beset with © 
obstacles. No enterprise has ever been entered into by the 
other Committees, in which the Delaware County Com- 
mittee has not done its share and more, including bringing 
in its quota of $20,000 for the Million Dollar Endowment 
Fund. The Tenth Anniversary was celebrated in May, 1911, 
by a reception given at the house of Mrs. Cryer. 


These four Committees are actively engaged in working 
for the Philadelphia Orchestra in Philadelphia, but they 
huve been instrumental in helping the out-of-town concerts 
by persuading women in other places to foster concerts 
given there. The first of these was formed in Wilmington, 
Delaware. 


[52] 





WoMEN’'s COMMITTEES IN OTHER PLaczs 
DELAWARE COMMITTEE 
WILMINGTON 
FoRMED JUNE 29TH, 1905 
OFFICERS 

Mrs. Lewis C. Vandegrift, President; Mrs. Joseph Swift, 
Vice-president; Mrs. William Betts, Secretary; Miss Annie 
T. Flinn, Treasurer. 

Concerts were given in Wilmington as early as the season 
of 1902-03, but they were not thriving as they should. The 
Women’s Committee therefore sent a mission to Wilming- 
ton, where Mrs. Joseph Swift, a composer and an amateur 
musician of prominence, called a meeting at her house. Mrs. 
Dixon, Mrs. McCollin and Miss Wister were the emissaries 
and the visit resulted in the formation of the Delaware Com- 
mittee, with the above officers and twenty-three Directors. 

For fifteen years this Committee continued its active work 
under the successive leadership of Mrs. Lewis C. Vandegrift, 
Mrs. Swift, and Mrs. Robert B. Bird. It was active in selling 
seats, procuring the Guarantee Fund for the Wilmington 
Concerts, without which the orchestra could not appear, 
in arousing interest by giving receptions for our leaders 
and in other ways. It was of immense help to have an organ- 
ized group of people furthering the interests of the orches- 
tra in Wilmington. The Committee continued its labors un- 
til the concerts had to be given up on account of the press 
of engagements. This Committee was affiliated with the 
Philadelphia Women’s Committee, and always sent a repre- 
sentative to the Annual Meetings. 


Tue BaLTrmMorE COMMITTEE 
ForMeD May, 1906 

Baltimore and Washington were considered fruitful fields 
and Philadelphia’s by right of propinquity. The Boston 
Symphony Orchestra had established a large clientele in 
these cities, but it had years of reputation, and of artistic 
achievement, with which to attract audiences. Not so with 
a new and little known orchestra. Mrs. Dixon, Miss Wister 
and Mrs. Thomas S. Kirkbride, Jr., paid a visit there in 
December, 1905, on the occasion of an afternoon concert at 
the Arundell Club, at which two members of the orchestra, 
with Mrs. Kirkbride at the piano, played trios. In the fol- 


[53 ] 


lowing spring, Miss Mary B. Shearer organized a Commit- 
tee and became the Chairman*. 


THE WASHINGTON COMMITTEE 


In Washington, Miss Aileen Bell, after a meeting at 
which Mrs. Dixon spoke, organized a group of women to 
assist 1n popularizing the orchestra, and also secured many 
patronesses.* 

Washington, the abode of representatives of foreign coun- 
tries and with a fluctuating popu atom was an easier field 
than Baltimore. Neither of these Committees has been 
active lately, because the necessity is past, but their help 
was much appreciated then. 


Tre ATLANTIC CouNtTy COMMITTEE 


This Committee, which was affiliated with the Women’s 
Committee, was formed in Atlantic City, after a concert by 
the Philadelphia Orchestra in 1912, and was active until 
1915. 

A Committee of five women was appointed, with Mrs. 
Joseph H. Ireland as President, to take charge of a perman- 
ent series of concerts in Atlantic City. During the three 
years of its existence, they sold the tickets, carried on educa- 
tional work in the schools, arranged for special students’ 
tickets, distributed programmes in advance as a basis for 
study, managed the publicity and indulged in other forms 
of activity. 

The Women’s Committees for the Philadelphia Orchestra 
have been an important part of the work at homeand abroad. 
There have been twelve: 


1902: Women’s Committees in Harrisburg, Lancaster, Al- 
lentown, Pennsylvania, and Trenton, New Jersey. 


1904: The Women’s Committee for the Philadelphia Or- 
chestra. 


1905: The Germantown and Chestnut Hill Women’s Com- 
mittee, the West Philadelphia Women’s Committee, 
the Delaware Committee. 


1906: The Baltimore Committee, the Washington Com- 
mittee. 





*See Appendix K. 


[54] 





2 ee SY 





=. ae ee 


1911: The Media, Chester and West Chester Women’s Com- 
mittee (now Delaware County Committee). 


1912: The Atlantic County Committee. 


THe [TWENTIETH ANNIVERSARY OF THE 
WoMEN’'s COMMITTEE 

The Women’s Committee, pioneer of the four in Philadel- 
phia, celebrated its Twentieth Anniversary in March, 1924. 
The event was marked by a series of entertainments, begin- 
ning with a luncheon given by the Officers and Directors of 
the Philadelphia Orchestra Association on March 11th. 
After a number of speeches an anonymous gift of one thou- 
sand Dollars to the Pension Fund from a member of the 
Committee, in honor of the occasion, was presented to the 
President of the Association. By vote of the Board of Direc- 
tors this has been placed in a separate fund bearing the 
donor’s name and the Women’s Committee has the privilege 
of designating a special use for the income each year. 


The next event was the reception given by the Women’s 
Committee, in the Foyer of the Academy of Music, on March 
14th, in which the members of the Auxiliary joined, and at 
which the guests of honor were the Officers and’ Directors 
of the Association, Mr. Leopold Stokowski and the mem- 
bers of the Philadelphia Orchestra. 

The Treasurer's Report at the Twentieth Annual Meeting 
in 1924, showed that since 1904, for dues and subscriptions 
to special entertainments and gifts by the Committee, 
$11,432.00 had passed through her hands. While for special 
funds such as the Scheel Memorial Bas-relief, the Philadel- 
phia Orchestra Chorus and the Opera Supper Dances, an 
additional amount of $25,335.00 was received and expended, 
making a grand total in twenty years of $36,759.00. This 
does not include any money for the Guarantee or Endow- 
- ment Funds, or money for tickets sold by the Committee. 
Two interesting items are those of $6,456.00 for the Fritz 
Scheel Memorial raised by the three committees; and of 
$7770 raised for the Philadelphia Orchestra Chorus in 
1921-22. 

‘The time has come to talk of many things’’ when an 
account of the work of the women is to be given; for 
the things they have done have been as diverse as the 


spd 


‘ships and shoes and sealing wax and cabbages and kings’’ 
which so puzzled ‘‘Alice in Wonderland.” 

They have ranged from guarantors, ticket selling and par- 
lor meetings, to balls, dances and selling post cards. Not to 
mention the two Endowment Funds and the silhouettes, 
the contribution toward the Chorus in 1921, and the recep- 
tions for the various conductors and soloists during twenty- 
one years. While thousands of dollars have passed through 
the Women’s Committees for the maintenance of the or- 
chestra, apart from the tickets they have sold, the women 
had no fund to fall back on until 1921, when the Women’s 
Committees Fund was established, to which the proceeds of 
the Opera Supper Dances are added each year. 

In speaking of the Endowment Funds it should be re- 
corded that the first gift ever made for such a fund came to 
the Women’s Committee in 1906, from Mr. Theodore N. 
Ely. 

““RESOLUTION ADOPTED DECEMBER, 1906 
“RESOLVED: That this Committee send to Mr. Theodore N. Ely, their 


most sincere and appreciative thanks for his most generous contribu- 
tion towards the cause for which this Committee exists. 


“And further resolved, that the Committee appoint a Sub-com- 
mittee of four, to urge upon the Executive Committee of the Philadel- 
phia Orchestra, the desirability and great appropriateness of starting 
the Permanent Endowment Fund for the perpetuation of the Philadel- 
phia Orchestra, with this generous contribution in memory of one 
of the first members of the Board of Managers of the Women’s Com- 
mittee, Mrs. Theodore N. Ely. 


‘And further resolved, that copies of this resolution be sent to Mr. 
Ely, and to the Executive Committee of the Orchestra. 


‘In pursuance of this, our President has appointed the following 
ladies a Committee to confer with the Executive Committee of the 
Orchestra concerning this matter, Mrs. Yarnall, Mrs. Widener, Miss 
Wister and Mrs. McCollin.”’ 


THe AUXILIARIES 


With the exception of raising money for the various 
funds the most important feature of the four Women’s Com- 
mittees is their Auxiliaries, now numbering 1985 women, 
attending the three Philadelphia series. It was through 
these that the Friday audience was built up, for Auxiliary 
members must have season seats. There are no dues and 
no other duties; but some of the best work done for the 
Endowment Fund and for the Anniversary Ball, was done 


[56 ] 





by Auxiliary members, who for years have had a deep 
regard for the orchestra. All women season ticket holders 
are eligible. 

The Women’s Committees have given many entertain- 
ments, beginning with a reception in honor of Fritz Scheel 
on March 6th, 1905, followed by House Music under Mr. 
Scheel’s direction. 

Others have been given in the following order: 

Mr. Carl Pohlig, 1908; 

Mme. Pohlig and her daughter Mme. Maillard, 1909. 

Mr. and Mrs. Leopold Stokowski, 1912. 

Luncheon to celebrate Tenth Anniversary of the Women’s 
Committee, March 6th, 1914. 

Reception to Mr. Stokowski and soloists and members of 
the Mahler Chorus, March 4th, 1916. 

Supper for Mr. Stokowski and assisting artists, March 
4th, 1916, at which many out-of-town guests were present. 

Receptions at the houses of Mrs. Alexander]. Cassatt, the 
Countess of Santa Eulalia, Mrs. Weatherly and Mrs. Cryer, 
in the interest of the Seven-Year Endowment Fund, Octo- 
ber, 1916. 

Reception to Mile. Guiomar Novaes, 1917. 

Receptions for Mme. Olga Samaroff, M. Alphonse Cath- 
erine, M. Sergei Rachmaninoff, 1919. 

Luncheon to celebrate Fifteenth Anniversary of the Wo- 
men’s Committee, April 24th, 1919. 

Reception at house of Mrs. Matthew H. Cryer, Lans- 
downe, to celebrate Tenth Anniversary of the Media, Ches- 
ter and West Chester Women’s Committee, 1921. 

Musicale and reception at the house of Mrs. L. Howard 
Weatherly, to celebrate Tenth Anniversary of the West 
Philadelphia Women’s Committee, May, 1915. 

Luncheon for Mr. Frederick A. Stock, guest conductor, 
January roth, 1924. 

Reception to celebrate Twentieth Anniversary of the Wo- 
men’s Committee, March 14th, 1924. 

Reception to Mr. Igor Strawinsky, January 30th, 1925. 

Luncheon to celebrate Twentieth Anniversary of Ger- 
mantown and Chestnut Hill Women’s Committee, March 
31st, 1925. 

Reception to celebrate Twentieth Anniversary of West 
Philadelphia Women’s Committee, May 13th, 1925. 


C574) 


Among the artists whom the Women’s Committees have 
entertained, the most popular one is Mme. Olga Samaroff. 


She is beloved by all the members, and admired, not only 


because she is a great artist, but on account of her unusual 
and delightful personality. The women will never forget 
what she did for the orchestra during her years of residence 
in Philadelphia. 


THe ANNIVERSARY BALL 
FOR THE BENEFIT OF THE CHORUS 

No mention of the entertainments of the Committees 
would be complete without an account of this. It was held 
January 24th, 1921, to mark the Sixty-fourth Anniver- 
sary of the opening ball of the Academy of Music, on 
January 26th, 1857. It should be called a study in co-opera- 
tion, for besides the four Women’s Committees, almost the 
whole city joined to make it a beautiful affair and a success. 
The feature of the evening was the quadrille in the costume 
of the period to which a number of persons contributed sets, 
as well as the following organizations. 


The Co-operating Societies were: 


Matinee Musical Club, Mendelssohn Club, Musical Art | 


Club, Musical Fund Society, Philadelphia Music Club, 


Philadelphia Orchestra Chorus, Philadelphia Choral Soci- 
ety, Treble Clef, Fortnightly Club, Pennsylvania Academy ~ 
of the Fine Arts, Sketch Club, School of Industrial Art, — 


School of Design for Women, Plastic Club, T Square Club. 


Old trunks were overhauled and old papers assiduously ~ 
read to get the local color of the time, so that when row ~ 


after row of the dancers began to march down from the 
dais at the back of the stage and take their places on the 
floor there was a scene of beauty which brought forth 


rounds of applause. Mr. Charles S. Morgan, Jr., imperson- — 
ated Mr. Hlasko, Master of Ceremonies, and took charge of — 


the quadrille which he had trained. 


A Loan Exhibition of much interest was held in the Foyer — 


for which many treasures were unearthed, including ‘Miss 


Ethel Newcome,’’ of London, the doll dating from the 


Sanitary Fair. Various business firms assisted by contribut- 
ing materials and allowing the Committees to use their 


windows for publicity of a unique kind, such as dolls and | 


jewelry of the period. Twenty years before such a joint 


[58] 








undertaking would not have been possible, and it was a 
mark of the general good-will felt for the Philadelphia 
Orchestra. | 


Tue Opera Supper DANCES 


A wotd should be said about these Dances, the Sixth 
Series of which has just begun. They are held in the Foyer 
of the Academy, after performances of the Metropolitan 
Opera Company. The subscription and supper are moder- 
ate in price and the affairs are much patronized. The object 
is tO raise money yearly and have a fund that can be used 
when necessity arises. 


When the war came a loss of interest might have been 
expected, but it was the reverse. Not only the weekly 
respite at the concerts proved a boon, but the activities of 
the Committees were a relief from the anxiety and rush of 
war work. 

The Women’s Committee has had good friends in the 
Board of Directors. When they had no means of support, 
Mr. Richard Y. Cook for many years contributed towards 
their expenses. Without his assistance they would have 
been in a serious situation. 

Mr. Wm. Jay Turner, the Vice-president, was an impor- 
tant person at the Anniversary Ball which he led with Miss 
Frances A. Wister, president of the Committee. 

Mr. Edward W. Bok spurred the women on to victory 
for the Fund with a kind but firm hand. Mr. Andrew 
Wheeler is always friendly and interested, and so the story 
might go on naming every director. 

First and last is Mr. Van Rensselaer, who has never lost 
an Opportunity to assist the women’s enterprises and who 
is regarded as the patron saint of the Women’s Commit- 
tees. Mrs. Van Rensselaer’s interest has been a great help. 

The members of the Committee deserve individual men- 
tion, but space is lacking. In the early days Mrs. McCollin 
and Mrs. Keffer were untiring. Mrs. Yarnall and Mrs. 
Allen have held office for twenty-one years. Mrs. Henry is 
an adapt at managing entertainments. Mrs. Cassatt was a 
most valuable officer, possessing courage and judgment and 
her loss is constantly felt.* Mrs. Arnett’s direction of the 


*See In Memoriam 


[59] 


work for the Auxiliary, passed on from Mrs. McCollin, has 
been a quiet labor with little public notice. The Recording 
Secretaries, Mrs. Ashton and Mrs. Wood, have been effi- 
cient in keeping the minutes. 

The woman who bore most of the burden of the pioneers 
was Mrs. Alexander J. Dallas Dixon, whose recent death 
has left a gap in their ranks. Although she gave up the 
presidency some years ago, her influence was always notice- 
able and her fulfillment of the task was appreciated. A 
special meeting was held on October 8th, 1925, to pass 
resolutions for Mrs. Dixon.* At the concert of October 16th, 
these were inserted in the programme and the audience 
stood while the Chopin Funeral March was played, in 
memory of the first president of the Women’s Committee. 

The four Gommittees and their Auxiliaries have an An- 
nual Meeting each April, and the President of the Women’s 
Committee presents a general report to the Association in 
May. The names of some of the reports are indicative of the 
work, for instance: ‘‘A Calm Sea and a ProsperousVoyage, ’ 
“The Adventures of the Women’s Committees, or How 
We Financed the Chorus,’’ ‘Twenty Years at Hard Labor, 
a Motion Picture, with a Prologue and an Epilogue and 
Continuous Music by the Philadelphia Orchestra.’’ Their 
work has been strenuous, but the women have had many 
thrills and good times in the doing of it. There are pleasures 
in the chase only known to those who hunt, even when the 
quarry is an Endowment Fund. 

Women are needed in every household to attend to the 
personal side of life, the entertainment of guests, the timely 
gifts, the flowers and many other things. They have even 
been known to help to support the establishment when the 
struggle seemed too hard for the men. This has been much 
the position occupied by the Women’s Committees during 
the last twenty-one years. Their entertainments have made 
many artists welcome to this city. Their gifts have come at 
just the right time: the share in the loving cup to Mr. Van 


Rensselaer; the silver plates to Mr. Stokowski on the com- — 


pletion of his tenth year as conductor; the silver vase to 
Dr. Rich after eighteen years of service; the porringer to 
little Sonia Marie Noel Stokowski, engraved with a verse 
from Wordsworth, all give a human touch to the Associa- 





*See In Memoriam 


[ 60 |] 





f 
= 
; 
4 


tion. And when the men were spent in the battle, the 
women worked to support the establishment. 

The Women’s Committees rejoice in the work they have 
done for the Philadelphia Orchestra, and in blazing the 
trail for women elsewhere. When the first was formed 
twenty-one years ago it was a pioneer and a unique organiza- 
tion, unknown anywhere in connection with a permanent 
orchestra. Many persons looked on it with, at least, a 
question. Now the questions are of a different nature, and 
come from other cities where orchestras are being formed. 

The value of women’s efforts in fostering music, and in 
making orchestras popular, seems to be recognized. Wo- 
men’s work for art in America is rapidly expanding; the 
torch has been borne by the Women’s Committees for the 
Philadelphia Orchestra. 


[ 6x ] 


CHAPTER V 
THE GUARANTORS AND THE GUARANTEE FUND 


There are a few satisfactory ways of financing an orchestra, 
but there are a number of unsatisfactory ways, and main- 
taining or trying to maintain a Guarantee Fund is one of 
them. The devotion of the guarantors of the Philadelphia 
Orchestra through sixteen years of financial embarrassment 
is a part of the story of which Philadelphia may be proud. 
A group of one hundred and twenty men and women* con- 
stituted the first guarantors in 1900-1901. 
At the close of the season this notice was issued: 


‘*THE PHILADELPHIA ORCHESTRA 
“Fritz SCHEEL, Conductor 
*‘CALL FOR THE First GUARANTEE FuND 
‘Philadelphia, June 15th, 1901 
“Dear Sir: 

‘The accounts of the Treasurer of the Philadelphia Orchestra 
Association, for the season just closed, shows a total expenditure for 
all purposes of $27,729.33, and total receipts from all sources of 
$14,429.85, leaving a deficit of $13,299.48, to be met by the Guaran- 
tee Fund. 

“A copy of the report of the Auditors is hereto appended. 

‘The Guarantors are to be congratulated upon the success of this 
experimental season—made possible only by their generous support. 
The musical success of the concerts has surpassed the most sanguine 
anticipation, but the most important and far-reaching result of the — 
undertaking has been the formation of the recently organized Phila- ~ 
delphia Orchestra Association, with its well-assured plans for weekly ~ 
concerts and public rehearsals during the winter seasons of the next 
three years. : 

‘The total Guarantee Fund amounts to $15,720.00, upon which a 
call of 84.61 per cent is necessary to meet the above deficit. Willyou, — 
therefore, please mail to Mr. John H. Ingham, Assistant Treasurer, 
No. 505 Chestnut Street, your check drawn to his order, for $ 
being 84.61 per cent of your subscription of $ 


‘Very truly yours, 
“‘Joun H. IncHam 
Ouiver B. Jupson 
Epwarop I. Kerrer 
Oscar A. KNIPE 
Epwarp G. McCotuin © 
Henry WHELEN, JR. 
*See Appendix D. “Executive Committee’ 


[ 62 ] 











“REPORT OF THE AUDITORS 


‘‘Philadelphia, 12th June, rgor. 
“The undersigned, being two of the Guarantors for the first series 
of Concerts of the Philadelphia Orchestra, and having been requested 
to act as Auditors, have examined the accounts of the Treasurer and 
the vouchers for disbursements. 

“We find same in order and correct, and are satisfied that the busi- 
ness management of the Orchestra has been efficient, and that the 
expenditures were proper and necessary. 

“The accounts show receipts from sales of tickets and incidentals 
amounting to $14,429.85, and payments as per receipted vouchers 
amounting to $27,729.33, leaving a deficit of $13,299.48. 

‘‘JouN H. CoNVERSE 
“*C. HartMAN KuHN 
** Auditors”’ 


When the business of this season was settled, a new fund 
had to be procured; forty-three Philadelphians were found 
who were willing to risk a three-year pledge for an untried 
experiment, and a number more for shorter terms. 

When this three-year guarantee expired the Association 
was facing a crisis and was on the point of disbanding the 
orchestra. Then the newly formed Women’s Committee 
was appealed to with the information that an addition of 
ten thousand dollars to the Guarantee Fund, secured within 
two weeks, was the only hope of saving the orchestra. An 
account of this first effort by the women has been given ina 
previous chapter. They succeeded in securing a number of 
new guarantors for one, two and three-year terms, and 
completed the amount within the required time. 

The story of the next sixteen years is one of constant beg- 
ging on the part of everybody connected with this institu- 
tion. Many methods were used to explain the financial con- 
dition. The Minutes, the programme book, and the numer- 
ous letters issued bear witness to this fact. Many were the 
meetings called “‘to consider the financial status of the 
Association. ’’ 


“Dear Sir or Madam: 

‘At the end of the second season the Directors of the Philadelphia 
Orchestra find that the deficit will practically be the same as at the 
end of the first year, viz: $68,000 ot $70,000. The expense of managing 
the organization has been reduced as much as possible, and if the 
organization is to be maintained on the same standard of excellence, 
the management feel that a large guarantee fund is necessary. 


[ 63 ] 


“It is Saal to increase the guarantee fund from $40,000 to 
$100,000, and by so doing we would not have to call on the entire 
guarantee fund, possibly 50 per cent of such fund would be necessary. 
The prices of admission for boxes and seats in the various parts of the 
house are as low as it is possible to make them, so that the concerts 
are within easy reach of students of music. 

‘*The Orchestra during the past year has completed a season of 20 
weeks, having given 71 concerts in all, 43 in Philadelphia and 28 out- 
side of the City. In addition to these performances the orchestra or a 
large number of them have appeared at concerts of the Orpheus Club, 
the Choral Society, the Temple Chorus and the Maennerchor under 


their several conductors.’’ 
* * * * * 


‘‘The management have done their utmost to make the orchestra 
a success, being aided in their efforts by the excellent conductorship 
of Herr Scheel. Private individuals and those interested in music have 
generously contributed, but it is to the public that we now look. By 
an increased season sale the receipts will be greatly increased, and 
consequently there will be more money to defray the expenses. 

“If you have not as yet become a guarantor of the Philadelphia 
Orchestra, will you not aid us by doing so and communicate with Mr. 
John Ingham, Secretary, 505 Chestnut Street, who will furnish you 
blanks for that purpose. The guarantee fund covers a period of three 

ears only. 

‘If the orchestra is to be continued, and it would be a disgrace to 
Philadelphia to allow a fine organization of its kind to slip away 
from us, two things are necessary: a larger guarantee fund and the 
support of the public by an increased season sale. The outlook for 
the latter, we are glad to say, is most encouraging for next season.” 


* * *K * 
Of course, it must be understood, that unless a sufficient guarantee 


fund be raised, they would not feel justified in continuing the 


Orchestra indefinitely. 
* * + * * 


“Hoping you will, if you have not already done so, aid us in fur- 
thering and maintaining this orchestra, we remain 


Yours truly, 


“GEORGE BurNuHAM, JR. A. J. Cassatt 

Joun H. Converse Ecx.ey B. Coxe, Jr. 
Wo. L. Etxins Miss Mary K. Gipson 
Joun H. IncHam O.iver B. Jupson 
Epwarp I. KErrer C. Hartman KuHn 
Epwarp G. McCo.iin THomas McKgean 
CLEMENT B. NEwBoLp Jamzs W. Paut, Jr. 
Mrs. F. H. RoseENGARTEN RicHARD ROsSSMAESSLER 
EpGar ScotrT Simon A. STERN 

Miss ANNE [THOMSON A. Van RENSSELAER 
Henry WHELEN, JR. P. A. B. WipENER 


CLEMENT A. GrRiscom’’ 


[ 64 | 





He 
_ 
Q 


‘To the People of Philadelphia: 1903 


“The management of the Philadelphia Orchestra Association, at 
the end of the third season of concerts, feel that they may now claim 
that they have fulfilled their original promise to supply the com- 
munity with an orchestra of the first class. There are but three other 
orchestras of this rank in the country, those of Boston, Chicago and 
Pittsburg. 

“A great orchestra is as much a Civic institution as a great library 
or art museum. It is the backbone of the whole musical organism. No 
large city can afford to be without one.”’ 

* *£ * # 

‘The artistic success of the past season is unquestioned, the work 
of the orchestra under Mr. Scheel, a leader admittedly second to none 
in the country, received flattering comment wherever it has been 
heard, both at home and in other cities, New York especially envying 
us the possession of an orchestra of the first rank.”’ 

* * * * * 

‘The deficit is practically the same as that of the preceding season, 
viz: sixty-eight to seventy thousand dollars. While this is a large sum, 
it compares favorably with the deficits of the three other large 
orchestras of the country during their initial seasons, and is not a 
cause for discouragement.”’ 

* * %«K KX 

‘‘An orchestra of the first class, however, can never be entirely 
self-supporting, and must be dependent upon the guarantees or con- 
tributions of those who take pride in their city and look upon its 
work as necessary to the education of the community.”’ 

* +*#+ #*# * 

“Up to the present time the amount of the deficit over and above 
the guarantee fund has been paid by a few (three or four) generous 
and public-spirited members of the Association. It is not fair, how- 
ever, that the burden of such an undertaking should be borne by a 
few when the whole community is benefited, and the Directors appeal 
to the public generally to aid in this work. 

‘In a city of the size, wealth and culture of Philadelphia, it does 
not seem unreasonable to hope that a sufficient number of people can 
be found to assist in retaining the orchestra and increasing its useful- 
ness. One hundred additional subscriptions of a Thousand or Five 
Hundred Dollars each, per annum, for three years, would go very 
far toward enabling the management to establish the orchestra on a 
permanent paying basis, but without such support from the public, 
the Directors do not feel that they would be justified in continuing 
the orchestra indefinitely."’ 

* * *& KF 

“‘As it is impossible to ascertain and approach personally all who 
are interested in the cause, those who wish to subscribe to the guar- 
antee fund are requested to write to the Secretary, Mr. John H. 
Ingham, 505 Chestnut Street, for blanks. The intention is to raise a 
fund for three years. 

“On the success of this appeal will depend the future of the 


orchestra.’ (Signed as before.) 
[ 65 | 


‘(PHILADELPHIA OrCHESTRA ASSOCIATION 
‘‘Philadelphia, April 15, 1905. 
**To THE GUARANTORS OF THE PHILADELPHIA ORCHESTRA ASSOCIATION: 


‘In closing the Fifth Season of the Philadelphia Orchestra, the 
Executive Committee think it is proper to report the result of the 
season to the Guarantors and to the members of the Association.”’ 

* *K *K KF 


‘The total cost this season, including salaries of 
musicians and conductor, office expenses, rental 


of Academy of Music, etc., amounted to...... $99,746.28 
‘The total receipts from all sources were........ 45 877-57 

Showing a Duricrrot. 21.5... . seni 53,868.71 
The Guatantee Funds. 025... 48,627.50 

Leaving a Dericrr'ot 5 40. { 2. | > Statens 


which we have every reason to believe will be provided for in the 
near future. 

‘The loss in season 1903-04 amounted to $58,530.23, so that we 
can show a distinct gain this year of $4661.52. The gain, however, 
was really much greater, inasmuch as our fixed charges were increased 
neatly $5000 due to increase in salary of conductor, increased rent of 
Academy of Music and increased charges for advertising, etc.”’ 

* * «KK #* * 


‘Owing to the unflagging energy and enthusiasm of our Women’s 
Committee, not only has our Guarantee Fund been substantially 
increased, but the season’s sale of boxes and seats, etc., was larger 
than for any previous year.’ 

* * * *K * 


“All this is very gratifying, but the fact remains that an efficiently 
maintained orchestra will always cost in the neighborhood of 
$100,000, with the possibilities of only $60,000 maximum receipts — 
secured from full houses at every performance.”’ 

* * * * * 


“There is no question whatever that the Orchestra is gaining in 
prestige and popularity among the people of this city, and it is the 
earnest hope of the Committee that the work should spread and that 
the Orchestra should be put on a permanent basis. 

“It has been decided to re-engage Mr. Scheel, and contracts have 
been authorized with the members of the Orchestra, so that as far as 
possible the present Hata may be retained. 

“It is the hope of the Committee that you will continue to favor 
the organization with your support as before, and that you will renew 
your subscription to the Guarantee Fund. 


‘*By Order of the Executive Committee 
| ““(Signed) A. Van RENssELAkER, President’’ 
*See Page 69. 
[ 66 | 





PROGRAMME Boox 
‘*Tae PHILADELPHIA OrcHESTRA ASSOCIATION 
Owes Mucus orf tts Success To THE DEvoTED 
Lasors OF THE FOLLOWING 
WoMEN’s CoMMITTEES 
Any Member ofr Wuicu WILL BE Guab To RECEIVE 
Your SUBSCRIPTION OF TWENTY FivE 
Dotuars, or More, TO THE 
GUARANTEE FUND 
OF THE 


PHILADELPHIA ORCHESTRA 


‘“WHAT THE PHILADELPHIA ORCHESTRA Is DoInG 
FOR PHILADELPHIA ° 


“The breadth of a city’s culture is measured by its point of view 
toward the arts that interpret life. Music is one of them—with Paint- 
ing and Literature. It is the function of THe PHitapELPHIA OrcHESTRA 
to carry forward the musical tradition that has been Philadelphia’s 
for five generations— 

“And more, to keep its musical consciousness alive and virile, by 
presenting the noblest works of the composers of today—composers 
who are expressing life in the terms of the present day.”’ 


* *K *£ *K 


“It has warm friends, enthusiastic audiences, the appreciation of 
musicians. Its influence is far more than local. 

“But more than this—it needs financial support. 

“It is not a private enterprise for private gain, but a public organi- 
zation for public service. | 

‘In the nature of things such an institution cannot be self-support- 
ing. Its box-office receipts are fixed by the customary scale of prices— 
while its expenses are the creatures of time and circumstance. 

‘The resulting deficit is made up each season by The Philadelphia 
Orchestra Association, whose members guarantee sums ranging from 
$25 to $5000 each, annually, for this purpose. 

“The Association is thus the instrument through which any one 
may help to perform this public service. It needs more members—of 
whom you are invited to be one. 


“THE INFLUENCE OF YOUR NAME 
AND YOUR MONEY ARE NEEDED.” 


[ 67 | 


PROGRAMME Boox 
““A Cau TO PATRIOTISM 


‘Tue Catt To Civic Prive Is In THE Arr. ‘Learn to know Philadelphia 
and work for her,’ is heard on every hand, and our people are urged 
to form and join ‘Patriotic Societies,’ all of which is good, and well 
worth-while. 

‘‘But Do You Know that for several years a zealous Patriotic 
Society—one that evinces the truest Patriotism, the Patriotism of the 


Pocket-book and Bank Account—has been aul at work doing all 


it could in its own way for the good name of Philadelphia and for the 
enjoyment and welfare of her citizens? 

‘Tue Mempers oF THIs Society have demonstrated the soundness 
of their Patriotism, the reality of their Civic Pride, and their zeal for 
the people’s good, without boasting and without complaint, by con- 
tributing from their private means, in the past nine years, approxi- 
mately $468,000 to maintain and operate THE PHILADELPHIA ORCHES- 
TRA, an institution of which every good Philadelphian has reason to 
be proud. 


‘Toe MemBeErsHIP OF THIs Society of liberal and public-spirited 
citizens known as THe PHILADELPHIA OrcHESTRA ASSOCIATION, num- 
bered 43 in the season of 1901-02. Last season there were 263 


members.’’ 
* * * * * 


“Witt You Not Suow Your Parriotism, your Civic Pride, your 
desire ‘to know and work for Philadelphia,’ by joining the honorable 
roll of this Association? A subscription of Twenty-five Dollars, or 
more, toward the Guarantee Fund, will make you a member. 


“YOUR NAME AND MONEY ARE NEEDED! 
“THEY ARE NEEDED NOW! 


‘Write today to the Manager for a Subscription Blank.” 


One of the difficulties was the attitude of business men 
who felt that after a few years the orchestra should be mak- 
ing a return on the investment, or at least be self-support- 
ing. Their opinion was that an institution which was a 
constant expense did not deserve the support of the com- 
munity. Fortunately for music, the people of Philadelphia 
now understand that an orchestra never can be anything 
but a public charge. 

Beginning with 1904 the number of guarantors ranged 
from two hundred and fifty to three hundred and sixty per 
season. The Guarantee Fund ranged from forty-five to fifty 
thousand dollars. During some seasons there was that most 


[ 68 | 





intolerable of all things, an extra deficit: during a few, a 
certain is cent of the fund only was called upon. 

The discouraging part of the Guarantee Fund method of 
financing an orchestra lay in the fact that the work was 
never-ending. A certain number of guarantees expired each 
season and the guarantors had to be persuaded by all the 
atts of man and woman to renew their pledges. The fact 
that their money was to be immediately spent, militated, 
in the minds of many people, against the Fund. It is so 
much pleasanter to think of one’s gift safely ensconced in a 
peananen: fund yielding an income year after year for a 
avorite cause. 

The Women’s Committees worked hard for the Fund. 
Besides procuring new guarantees each year for twelve 
years, amounting to thousands of dollars, they obtained 
renewals of old guarantees or made good the loss by new 
ones. In 1905, they defrayed the extra deficit of $5300.00; 
no doubt taxing everybody's generosity and patience to the 
utmost. 

Much of the financial burden in the first years was borne 
by a few men and women, who time after time put their 
hands deep into their pockets. Among these may be named 
Mr. Alexander Van Rensselaer, the president; Mr. Thomas 
McKean, Jr., for some years vice-president; Miss Anne 
Thomson and Miss Mary K. Gibson, directors. The trea- 
surer, Mr. Henry Whelen, Jr., was always optimistic and 
advanced money constantly. What the result would have 
been if Mr. Whelen had not done this is problematical. 
His untimely death in 1907 robbed the orchestra of a de- 
voted friend. 

Mr. Whelen was succeeded as treasurer by Mr. Arthur E. 
Newbold, of Drexel and Company, who arranged loans 
and advanced money and took endless trouble for the 
Association. The same can be said of Mr. Robert K. 
Cassatt, the present treasurer, who attends to many details 
of business. 

From 1905-06 until 1910-11, Mr. Horace Churchman was 
the Controller of the finances, which he administered with 
ability and much to the satisfaction of the Board. 

A glance at the figures is all that is needed to learn the 
story of those years so discouraging from a business point 
of view. 


[ 69 ] 


Résumé of the Guarantee Fund, 1900-01-1915-16 


Number of Amount 

Season Concerts Total Guarantors Collected Extra Deficit 
1900-01 6 $15,720 120 $13,299 (84%) $40,000 
I9O0I-O2 I4pairs 32,000 43 32,000 30,000 
1902-0} VTA aS. 000 113 38,000 16,000 
very) til beh eet) bhive'are, 127 42,000 5300 
TOCA 5 Oe St LOCK) 259 48,000 
1905-06 18 ‘‘ 50,000 315 47,000 (95%) 
1906-07 20 ‘* 46,840 281 41,900 (90%) 
TOOTHOS | TNE, ieee 273 40,100 (95% 
1908-941 199 7 ick! Uae Ta 352 42,800 (95% 
LG05-1O 22 44,800 359 44,800 
£O1Cstt 25 42, 400 311 42,400 
I9lI-Iz 25 42,100 309 42,100 
FGi7- 14 yeas Ay OO ee tA 43,200 
lz ia 2s 46,000 335 46,000 
AGT AOL id) 452309 325 452300 
POIS “fOr 49,100 310 49,100 


Total $618,699 


During these distressing days Scheel was asked to dine 
at the Rittenhouse Club to meet some prominent men of 
affairs, at a time when desperate efforts were being made 
to procure guarantors. The hour arrived, but no Scheel and 
it was learned that he had not gone home to dress. His 
friends started out to find him, and he was discovered teach- 
ing the second bassoon player to play a syncopated passage 
in a Tschaikowsky symphony. The dinner was entirely for- 
gotten in the absorption of the lesson, but he rushed home 
to dress and arrived only thirty minutes late. The result of 
the dinner, however, was an addition of several thousand 
dollars to the Guarantee Fund. 

The total number of guarantors who defrayed the annual — 
deficit during sixteen years was about seven hundred and — 
fifty, and to them Philadelphia music lovers are deeply in 
debt. Many sighs of relief were heard when this unstable 
way of financing an orchestra was ended by the offer of the 
“Unknown Donor,’’ which made possible a more perman- 
ent method. 


[70 ] 





CHAPTER VI 
Tue Deatu of Fritz SCHEEL 


But while the Board of Directors was in a continuous state 
of anxiety about the expenses; and the guarantors were 
being kept up to the mark; and the three Women’s Com- 
mittees then in existence were straining every nerve to help; 
and the orchestra was constantly improving through ae 
untiring efforts of the conductor, all was not well with 
Fritz Scheel. In looking back over his term of leadership of 
the Philadelphia Orchestra, his friends realize now that his 
illness began at least one year, and perhaps more, before the 
final breakdown came. He became irascible with his players, 
efratic in conduct, and his good judgment in matters musi- 
cal seemed to forsake Biotin the first months of 1907 
his programmes had to be constantly supervised to guard 
against excessive severity; and on one occasion he had to be 
restrained from playing five symphonies at one concert. 

The first knowledge the public had that he was in a 
peculiar mental condition was at a concert of the Eurydice 
Chorus, held in Horticultural Hall on February 6, 1907. He 
had been much upset by the death of a violinist in the 
orchestra,who disappeared and was found drowned. During 
the concert he asked the audience to rise and then played a 
funeral march in memory of this man. He constantly talked 
to the audience and to the singers. It was immediately seen 
that he was not responsible for his actions, and a specialist 
was consulted. He was taken to Atlantic City for a week, 
but did not improve. 

The news of Scheel’s illness brought forth universal 
expressions of regret, as witness the following: 


March 3, 1907. 
**Fritz SCHEEL”’ 


‘Fritz Scheel’s illness is not only a personal tragedy; it is a public 
calamity. The fine orchestra which he has created for Philadelphia, 
and into which he has poured to exhaustion his own nervous energy, 
remains the pliant instrument he made it, ready to the hand of what- 
ever master may be found to carry on his work, if he should not 
return to it. But the orchestra has been so peculiarly the expression of 


itl 


Scheel’s artistic personality, that his withdrawal at the end of what 
had been a most prosperous and buoyant season leaves the great con- 
stituency built up for it in these seven years with a sense of bereave- 
ment and depression. 


“Mr. Scheel is a remarkable instance of a concentrated musical 
temperament, that views all life and thought through its own medium 
alone. In the years that he has spent in Philadelphia, he has been 
scarcely known beyond the en er circle of the orchestra and the 
musical societies that he has directed.”’ 


* *« %k «K * 


“It is not enough to refer to the wide field of modern music that 
he has made familiar to us, through his lucid presentation of the 
works of the French, the Russian and other Continental composers, 
including the most recent Germans, such as Strauss, whose recondite 
music he read with a clearness and significance that the composer 
himself failed to convey. Scheel’s peculiar insight is still more charac- 
teristically expressed in that fact that he has made Brahms a popular 
composer in Philadelphia, and he has triumphantly shown that the 
great ‘classics’ are not antiquated, but that real musical thought may 
speak to modern ears as well through ancient as through modern 
forms, if felt and interpreted with modern understanding. 


* * -K *K 


‘The orchestra, of course, goes on, and the best present hope is 
that Scheel may be restored to health before another season. No doubt 
another conductor will be found if this hope should fail, but he will 
necessarily be different and there is no one now known in this country 
whom with an equally broad musical outlook, could be counted upon 
to make all the work of the orchestra so unfailingly and often sur- 
prisingly interesting as Scheel has done. Such artists as he are rare in 
any time or place, and it is to the honor of Philadelphia that he has 
received not only from the few, but from the many, some measure of 
the appreciation that is his due.’’ 


Public Ledger, February 10, 1907 


MUSOU ALOT Scheel’s collapse, however, came as a shock to 
everyone connected with the orchestra, and yet they all realized that 
he could not endure for a much longer time. For three weeks he had 
been unable to sleep. 


‘*Never a moment of freedom did he allow himself. In Odd Fellows’ 
Temple each morning he rehearsed one group of players, in the after- 
noon another group and in the evening the entire orchestra. At his 
meals he arranged the sugar bow] so that it would keep the score of 
some symphony or other in an upright position where he could study 
while eating. 


‘In Harrisburg, only three weeks ago, Scheel had the grip, and 
when the business manager, Charles Augustus Davis, went to see him, 
he found the leader lying in bed with water bags over his heart and a 


[72] 





score in front of his eyes. All this time Scheel was also attending to ~ 
his work as leader of the Eurydice and the Orpheus Clubs, rehearsing 
and leading at concerts."’ 


‘*Looxs HaGGARD”’ 


“Mr. Scheel was seen by the Public Ledger correspondent as he 

returned to his hotel after a swift stroll down the boardwalk with his 

hysician. He looked haggard and spoke in an excited, almost hyster- 
ical tone. 

‘* “Please tell my friends in Philadelphia that I am not a sick man,’ 
and greeted the newspaperman effusively. ‘All this talk about my 
mental condition is absurd. I needed a rest, that was all, and the 
directors very kindly allowed me to come to the seashore. I will be 
all right in a few days, won't I, doctor?’ 

“The concluding sentence was directed to Doctor Goodman in a 
tone of pitiful appeal. Dr. Goodman nodded good-naturedly, as he 
does to all the proposals and plans that the sick musician unfolds in 
his illusions, when he talks about purchasing several beach play- 
houses for great music festivals.’’ 


After conducting a last concert in Reading, Scheel was 
taken to a sanitarium where he died of paresis on March 
13th, 1907. 

One of his last hallucinations was to write letters to 
prominent musicians in Europe, offering them large sums 
to come to Philadelphia and teach in a conservatory that 
he was about to found. During his stay at the sanitarium he 
organized the nurses and orderlites into a chorus and made 
them sing part songs, grouped about his bed. This was a 
unique occurrence in the conduct of sanitariums, and he 
was soon much beloved by the attendants, whose tears at 
his funeral bore witness to their feeling for him. 

‘Fritz Scheel, Fighter,’’ would have been a good name 
for the first leader of the Philadelphia Orchestra. His death 
was generally attributed to overwork, but modern psy- 
chologists insist that no man ever came to his death by 
work. It was the strain of conquering, handicapped by the 
financial condition of the Association, that killed Scheel— 
conquering first his musicians, then the musical public, 
then the opposition to a Philadelphia Orchestra, and last 
the general apathy, most difficult foe of all to subdue. If he 
had not been a fighter, the Twenty-fifth Anniversary of the 
Philadelphia Orchestra would still be several years ahead. 


[73] 


Philadelphia Inquirer, March 14, 1907, 


““ScHEEL, Martyr TO OrcHEsTRA HE CreateD, Is DEAD. CONDUCTOR 
Known TrrouGcHout THis COUNTRY AND 
Europge SuccuMBs TO PNEUMONIA 


‘“Fritz Scheel, conductor and creator of the Philadelphia Orchestra, 
who during the seven years which he headed that organization won 
the affection of local music lovers as no other musician ever gained 
it, died shortly before one o'clock yesterday afternoon in Dr. Francis 
X.Dercum’s sanatorium, at 1929 Wallace Street. Double pneumonia 
was the direct cause of his death. 

‘There is little doubt that the real cause of the sudden end of the 
brilliant career of Mr. Scheel was his devotion to the orchestra, of 
which he was the conductor, for had it not been for the nervous and 
physical breakdown of a month ago, brought on by overwork, his 
ordinarily sturdy constitution in all probability would have shaken 
off the pneumonia which conquered him in his weakened condition. 

“During the month before his nervous breakdown, Scheel, en- 
couraged by the artistic and financial success which was attending the 
season’s performances, redoubled his efforts to make the remaining 
concerts even outshine in brilliancy and attendance the preceding ones. 

‘*There is no doubt that he would have succeeded, for he had not 
only imbued both the musicians in the orchestra with his zeal, but 
pad also wrought the music lovers of Philadelphia up to a high pitch 
of enthusiasm.”’ 


Philadelphia Press, Thursday, March 14, 1907: 


‘“Macic oF SCHEEL’s BATON STILLED BY LEADER’s DEATH’ 


“Double pneumonia ends life of gifted musician who brought the 
Philadelphia Orchestra to a high plane of excellence. 

‘Philadelphia music lovers suffered perhaps the severest loss in the 
city’s musical history yesterday, when Fritz Scheel, director of the 
Philadelphia Orchestra, succumbed to double pneumonia. ’’ 

* * * * * 


‘The news was received with sorrow among rich and poor alike, 
among those who were regular subscribers to the season of symphony 
concerts, as well as among those, who loving music, waited patiently 
in line for the doors to the family circle and amphitheatre of the 
Academy of Music to open, to hear the diverse program which it was 
Scheel’s wont to perform. 

‘The maestro had made a brave fight for his life, his vitality, 
according to his physicians, having been remarkable.”’ 

* * KF * * 


“Mr. Scheel added to the technical equipment, which is the natural 
product of German life and training, a poetic temperament and a 
broad outlook on matters musical, which not only gave great vivac- 
ity and variety to his programmes, but which made for such insight 
in the matter of the meaning of any given composition, as to produce 
the most illuminating and inspiring results. 


[74 ] 





A epee Th oa oy ars 





‘‘A course of seven seasons under his baton was, therefore, not 
only pleasurable in the highest sense of the meaning of the word, but 
instructive and educational to a marked degree, the entertainment 
however, marked, being as it were, incidental to a greater purpose of 
not only creating, but of satisfying the desire for the higher things 
in the most glorious of arts. In this sphere of endeavor Mr. Scheel’s 
singleness of purpose was well known. His devotion to musical ideals 
was manifest in everything he did, and his concentration on what he 
considered his lifework was of so energetic and absorbing a character 
as to make serious inroads on his health and strength. His death 
places the musical world peculiarly in his debt, since he arrived in 
Philadelphia at a critical period in our musical history and met the 
situation admirably. 

“Tt is natural that those interested in music should feel a personal 
loss, but there is also a larger loss, in that every city must conserve 
those influences which keep the fire burning for the finer things of life. 
Hence, although those who are not of the musical world may not so 
realize it, they are also the losers through the passing of so striking a 
Pee for nothing is more certain than that any community 

oes not live for or by bread alone, and it is a hopeful sign when any 
city is the scene of activities which include men and movements that 
look beyond mere material comforts. 


“It is fortunate that at this juncture Philadelphia has a large grou 
of self-sacrificing citizens who realize this. Mr. Scheel had his 
reward in life in their support and appreciation, and the best 
tribute to him, now that he is dead, will be that the good work will 
go on on the lines laid down by him, so that what he stood for shall 
not be lost, and the vantage ground attained to be held in all 
certainty.’’ 


Funeral services for Fritz Scheel were held on March 16th 
in the Lutheran Church of the Holy Communion, on Chest- 
nut Street above Twenty-first. The immense gathering was 
a tribute to the conductor and a proof of his personal, as 
well as musical, popularity in Philadelphia. 


The list of honorary pall-bearers was a long one and 
included representatives from almost every branch of musi- 
cal activity in Philadelphia: 


Executive Committee of the Orchestra: Mr. Thomas McKean, Mr. 
Henry Whelen, Jr., Mr. Richard Y. Cook, Mr. John H. Ingham, Mr. 
Andrew Wheeler, Jr., Dr. Edward I. Keffer, Mr. Edward G. McCollin, 
Mr. A. J. D. Dixon. 

Orchestra Guarantors: Mr. F. T. S. Darley, Mr. S. Decatur Smith, 
Mr. Richard S. Brock, Mr. John H. Converse. 

Business Office: Mr. Chas. A. Davis, Mr. Horace Churchman. 

Orchestra Members: Mr. Thaddeus Rich, Mr. Anton Horner, Mr. 
Jan Koert, Mr. C. Stanley Mackey. 


[75 ] 


Philadelphia Symphony Society: Mr. Charles A. Braun, Mr. J. 
H. Michener, Jr., Mr. Joseph M. Mitcheson. 

Orpheus Club: Mr. Charles W. Baily, Mr. Arthur L. Church. 

Eurydice Club: Mr. Louis F. Benson, Mr. F. H. Rosengarten. 

Mendelssohn Club: Dr. W. W. Gilchrist. 

Choral Society: Mr. Henry Gordon Thunder. 

University of Pennsylvania: Dr. Hugh A. Clarke. 

Philadelphia Press: Dr. A. C. Lambdin, Mr. Max Heinrici, Mr. 
George Rogers, Dr. Martin Darkow. 

Philadelphia Musicians: Mr. Philip H. Geopp, Mr. Maurice Leef- 
son, Mr. Richard Zeckwer, Mr. Wassili Leps. 

Personal Friends: Dr. Victor Leser, Dr. John H. Musser. 


Besides these, the Board of Directors of the Association 
and the Women’s Committees for the Philadelphia Orches- 
tra attended in two large groups. 

Although the orchestra had disbanded for the summer 
enough of the musicians were still in Philadelphia to play 
the slow movement of the Eroica symphony as the cortége 
entered the church. The Orpheus Club sang ‘‘The Long 
Day Closes,’’ by Arthur Sullivan, and ‘‘Holy Peace,’ by 
Abt. At the grave the horn quartette of the orchestra 
played Mozart’s Ave Verum.”’ His baton and the score of 
the Ninth Symphony were buried with him. 

Telegrams and messages of sympathy poured into the 
offices of the Association from musicians in all parts of the 
country and from foreign artists, sojourning here. 

A special meeting of the Board of Directors was held on 
March 14th, 1907, and this resolution adopted: 


‘The untimely death of Fritz Scheel has deprived this Association of 
the services of a Conductor, who, by his genius and devotion to his 
art, has successfully forwarded our efforts to establish an orchestra 
that is a credit to Philadelphia and to the contributors whom we 
represent. 

“Artistic both by temperament and inheritance, the devotion to 
his profession by which this community has profited so much has 
been indirectly responsible for the untimely ending of his career. 
Had he been less insistent upon the full performance of every detail 
involved in a complete and conscientious fulfillment of his duties, the 
great drain upon his powers that left him without sufficient vitality 
to withstand the attack of his last illness, might have been avoided. 

“Tf it be for us to write his epitaph, we would place devotion to his 
art as his most prominent trait of character, and loyalty to his orches- 
tra and to our Association as its closest companion. 

‘In many respects the Philadelphia Orchestra stands as a monument 
to his work and memory, for he must long be remembered as its first, 
and for seven years its only Conductor.” 


[76 ] 





Scheel’s devotion to Beethoven was well known, and if 
he had been told to arrange his last concert no doubt he 
would have chosen a Beethoven programme. Was it more 
than coincidence that the following programme was his 


last? 
BEETHOVEN PROGRAMME 


February 7 and 8, 1907 
Dr. Ortro NeitzeL, Pianist 


QuaRTET 
Marigz KuNKEL-ZIMMERMAN, Soprano Nicuotas Douty, Tenor 
Emity Stuart Keiioce, Contralto Freperic Martin, Bass 


Tuer MENDELSSOHN CLUB 


(Through the courtesy of Dr. W. W. Gilchrist, Director) 


Lupwic von BEETHOVEN (1770-1827) 


1. Phantasie for Piano, Orchestra and Chorus, Op. 80 
Adagio Piano 
Finale 
Allegro 
Allegro molto 
Adagio ma non troppo 


Marcia assai vivace Piano and Orchestra 
Allegretto ma non troppo 
Presto Piano, Orchestra and Chorus 


Prefatory Remarks by Dr. Otto Neitzel 
2. Quartet from ‘‘Fidelio’’ (‘Mir ist’s so wunderbar’’) 
For Two Sopranos, Tenor and Bass 


3. Symphony No. g, in D Minor (Choral), Op. 125 
Finale on Schiller’s ‘‘Ode to Joy”’ 
For Soli, Chorus and Orchestra 
_ Alletro ma non troppo, un poco maestoso 
Molto vivace 
Adagio molto e cantabile 
Allegro assai Quartet and Chorus 


Prefatory Remarks by Dr. Otto Neitzel 


The predicament of the Board of Directors during Scheel’s 
illness and after his death can hardly be described. Apart 
from the feeling of personal loss, the Association was ihe ged 
to give a series of concerts in Philadelphia and elsewhere. 
All the best conductors in America were engaged in mid- 
season and the best European ones, if available, were to be 
had only at impossible prices. 


[77 | 


The concerts of February 7th and 8th during the first — 
week of his illness were conducted by August Rodemann, — 
the assistant conductor and first flutist; and Dr. Otto 
Neitzel, who was included in the programme as lecturer, 
directed the Ninth Symphony. The remaining ones were 
led in an atmosphere of sadness and apprehension by 
Leandro Campanari. 


Tue SCHEEL MEMORIAL TABLET 


Immediately after the death of Fritz Scheel the Women’s 
Committee proposed to raise a fund for a memorial to him 
to be placed in the lobby of the Academy of Music. A com- 
mittee was appointed with Mrs. Wm. W. Arnett as Chair- 
man. The circular printed below was sent out, to which 
there was an immediate and generous response. 


FRITZ SCHEEL MEMORIAL FUND 
UNDER THE AUSPICES OF 
THE WoMEN’s COMMITTEE FOR THE PHILADELPHIA ORCHESTRA 


‘The Women’s Committee for the Philadelphia Orchestra has decided 
to erect in the Academy of Music a life-sized bronze bas-relief portrait 
of the late Fritz Scheel, three-quarters length figure, at a cost of 
$5000; $2000 of which has already been contributed. This memorial 
will have great value as a work of art, as it will be executed by Mr. 
Charles Grafly, of Philadelphia, the eminent American sculptor. It 
will also be a lasting and visible monument to the first conductor of 
the Philadelphia Orchestra, who was beloved by the musical public 
not only of Philadelphia, but of other neighboring cities. It is right 
and fitting that so great a man, representing so great an organization, 
should have an adequate monument in our historic Academy of — 
Music. . 

‘The music-loving public is asked to help erect this monument to 
Mr. Scheel, and all lovers of Art who have the interest of the great 
enterprise of their city at heart, will wish to have their part in this 
Memorial. 

‘Messrs. Drexel & Co., Fifth and Chestnut Streets, have kindly 
consented to receive contributions to the ‘Fritz Scheel Memorial 
Fund,’ as also have ess & Son, 1115 Chestnut Street, and Theodore 
Presser, 1712 Chestnut Street. Contributions may also be sent to the 
office of the Philadelphia Orchestra Association, Room 1313, Penn- 
sylvania Building, Fifteenth and Chestnut Streets, or to Mrs. Alfred 
Reginald Allen, Treasurer, 111 South Twenty-first Street, Philadel- 
phia. Contributions of any amount, large and small, are solicited. 

‘It is important that all contributions be made by June ist in 
order that the bronze may be completed before the termination of the 


next Orchestra season.’’ 
* * * * * 


[78 ] 





Mr. Charles Grafly had taken a death mask of Scheel and 
produced a fine work of art and a most excellent likeness of 
the man. The setting was designed by Mr. Edgar V. Seeler. 
The Tablet cost six thousand dollars, and enough money 
was raised in addition to purchase a lot in West Laurel Hill 
Cemetery, and to place on Scheel’s grave a suitable tomb- 
stone and some shrubbery. Perpetual care was arranged for, 
a great satisfaction to Miss Scheel and to all his friends and 
admirers. For many years the Women’s Committee has 
placed a wreath on the memorial tablet on the anniversary 
of Scheel’s death, thus keeping alive the memory of the 
man and what he did for music here. 

One year after Scheel’s death a memorial meeting was 
held at the Academy of Music at which time the tablet was 
unveiled. 

PROGRAMME OF CEREMONIES 


“FRITZ SCHEEL MEMORIAL 


‘“ACADEMY OF Music 
WEDNESDAY, Marcu ELEVENTH 
NINETEEN HuNDRED 
AND EIGHT 
AT THREE O’CLOcK’’ 


“FRITZ SCHEEL 


‘A TRIBUTE 
““By Florence Earle Coates 


“He gave his life to Music—gave— 
For love, not hire—himself denying; 
His body rests, o’er wearied, in the grave, 
But Music lives and gives him life undying. 


‘In the deep silence, may he hear 
Such harmonies as he could wake, 
And O, may some faint accents reach his ear 
From the great City’s heart that sorrows for his sake!’’ 


‘‘IN MEMORIAM 
‘By Harrison S. Morris 
‘Broken in twain the ordered sum of years, 
The baton fallen, the chords forever stilled; 
Vanished the master, mourned of human tears, 
Enduring what to Art his spirit willed. 


‘The hand that swept the strings 
Like unto dust shall be; 
The stricken chords vibrate 
Eternally.’’ 


[79 | 


‘*‘PROGRAM 


‘In MEMORIAM 
“Fritz SCHEEL 
“Born Lueck, 1852; Diep PHILADELPHIA, 1907" 


‘“RicHARD WAGNER—VORSPIEL, \PARSIFAL” 
““‘ADDRESS 
““Mr. Owen WISTER 
‘‘RICHARD STRAUSS, TONE Poem, Opus 28, 
‘‘Top UND VERKLARUNG, 


‘(Death and Transfiguration).”’ 


* * * %+* * 


‘*Unvert MEMORIAL TO Fritz SCHEEL”’ 


GREAT THRONG AT ACADEMY OF Music To PARTICIPATE IN HONOR OF 
First CONDUCTOR OF PHILADELPHIA ORCHESTRA 


‘One of the greatest tributes ever paid to a musician in this city 
was the Fritz Scheel memorial celebration at the Academy of Music 
yesterday afternoon. It was a tribute to a man who was much beloved 
for the years of hard work he had done in bringing the Philadelphia 
Orchestra to its present perfection, as well as a tribute to his own 
personality, which won for him hosts of very warm admirers here.”’ 


**GrREAT Crowp GATHERED” 


‘The memorial services at the Academy yesterday, modest and 
impressive as they were, were remarkable for the vast crowd that 
assembled to honor the master. Long before the doors were opened, 
hundreds of people had gathered at each of the entrances, which were 
rapidly increased to thousands and when admission was finally 
gained, it was only a short time before every bit of available space 
was taken, with sufficient people on the outside to fill the place 
twice over. 

‘That the Academy was filled to capacity was announced at the 
different entrances by attaches of the Academy, and although hun- 
dreds turned away disappointed, an equal number of them remained 
during the entire hour of the memorial services, and to repay them 
for their patience, they were finally allowed admission, not to get a 
chance to hear any of the ceremonies, but to view the handsome 
tablet. 

‘The tablet was unveiled while the audience listened to the brief 
but impressive address of Mr. Owen Wister. 


* * %#F * 


‘“Mrs. RoosEvELT SENT A WREATH” 


“Encircling the tablet was a festooning of laurel sent by the 
Women’s Committee, and underneath a large wreath of beautiful 
white roses sent by Mrs. Roosevelt. 

“Mr. Wister’s address was a brief but eloquent effort. After a few 
introductory remarks, he said among other things: 


[ 80 | 


<i 


a6 66 


Great poems survive the poets who wrote them; great pictures 
and statues survive their creators, as symphonies survive the masters 
who composed them. In all these arts the work of genius lives on, 
while the brain where it was born goes to dust. Not so is it with 
another sort of artist, the enterpreter. He who interprets—the actor, 
the singer, the player—be he never so great, be he Garrick, or Mario 
or Paganini, still must he perish with the generation that heard him, 
and sometimes he does not even leave a name. 

“ "The lot of the orchestral conductor is the same, for he belongs 
to the class of interpreters, with the Garricks, the Marios, the Pagan- 
inis. No matter what magic comes from the baton that he waves, 
once that baton is laid down, the magic is dead.’ 


**REVIEWED Mr. ScCHEEL’s WorkK’”’ 


“Mr. Wister then went on to sketch briefly the work of Mr. Scheel 
from the time he came to this country and of his residence in Phila- 
delphia for nine years, beginning with the conducting of the Amateur 
Symphony Orchestra and including the years he was at the head of 
Philadelphia Orchestra. He said: 

‘““ “Arduous were the pioneer steps, but between each one lie many 
struggles, many examples of generosity, of munificent giving on the 
part of private citizens; some gave their time and some their purse 
and some both. Without their persmission (for they would refuse it), 
let the names of the pioneers be mentioned: 

“Mrs. A. J. Cassatt and that hardworking committee of four: 
Messrs. Edward Keffer, Edward McCollin, John Ingham, Oliver 
Judson. Let us remember next the boundless generosity of Alexander 
Van Rensselaer and Thomas McKean, who poured their thousands 
out like a royal gift; nor let us ever forget Miss Anne Thomson and 
Miss Mary Gibson; to let any of these names go in silence today, 
would be to fail in due qa And for Henry Whelen, his 
cyan devotion of time and purse, let a special word of remembrance 
be said.’ 

‘But for the loyal help of all these we might not be here—nor 
should we, if, in a dark hour, when masculine endurance gave out, 
feminine energy had not stepped in.’ 

“Mr. Wister then followed with a eulogy of Mr. Scheel, the ‘artist’ 
as well as Mr. Scheel the ‘man.’ In conclusion he said: 

‘““ “So did his work end. Many must be sitting here today who well 
remember those years when Theodore Thomas played to a mere 
handful of listeners in this house; when tickets were given away by 
the dozen and the fifty, in order that there might not be a desert of 
empty seats. 

“ ‘But it was not a barren field that Theodore Thomas sowed the 
seed in. He made it ready for the Boston Orchestra, and thus at length 
arrived the man and the hour for a Philadelphia Orchestra. We have 
grown to understand the great value of such music, not only the 
pleasure it gives, but its educational and civilizing importance; and, 
although now and again some benighted voice is raised against sys- 
tematic musical instruction in our schools, the day of the municipal 
savage draws to its close! 


[ 81 ] 


Older governments assist symphonic art, liberally subsidizing 
it; but in our Republic it is proper for the citizens to take this upon 
themselves, and all over the country they are beginning to do so. But 
Philadelphia’s progress since the days of Theodore Thomas is the 
most extraordinary of all, and her citizens will see that it goes on. 

‘* ‘And so Fritz Scheel passes from this desk into bronze, where 
the artist has caught his look with admirable and living skill; the 
very look he had so often when he turned half round the moment 
before he raised his baton. At this desk now stands his eminent suc- 
cessor, worthy to perfect the work so worthily, so loyally begun. At 
future concerts when we come in we shall see Fritz Scheel looking 
down from his bronze, and imagine upon his face a look of serenity 
and approval.’ | 

‘Mr. Wister was heartily congratulated for his address, and the 
ladies of the committee in charge of the memorial celebration received 
many favorable comments as to the admirable way in which they had 
carried out their work, not only in the collecting of the money, but 
in providing such a fitting tribute to the late cancer 
* * * %#€ 


Evening Bulletin, March 11, 1908: 


‘*Toe MEMORIAL TABLET” 
* * * * a 


‘The seats in the parquet circle, with the exception of the boxes, 
had been reserved for the subscribers to the Fritz Scheel Memorial 
Fund, and the Guarantors for the Philadelphia Orchestra. 

‘The balcony and family circle were for the regular ticket holders 
of both series of concerts, while tickets for the amphitheatre had been 
distributed to the music students of the various musical conservatories. 

‘‘Proscenium Box No. 2 had been reserved for Mr. and Mrs..A. J. 
Dallas Dixon, Miss Margaret Scheel, Mr. and Mrs. Alexander Van 
Rensselaer, Mr. and Mrs. Andrew Wheeler, Jr., Mr. and Mrs. Arthur 
Newbold, Dr. and Mrs. Edward I. Keffer and Miss F. A. Wister. 

‘“Proscenium Box No. 3 for Mr. and Mrs. Thomas McKean, Mr. 
John H. Ingham, Mr. Clement B. Newbold, Mr. and Mrs. Edgar 
Scott, Mr. E. T. Stotesbury, and Miss Anne Thomson, representing 
the Board of Directors of the Philadelphia Orchestra Association. 

‘‘Proscenium Box No. 4 had been allotted to the following ladies — 
representing the Honorary Vice-Presidents of the Women’s Com- 
mittee for the Philadelphia Orchestra: Mrs. George F. Baer, Mrs. 
Alexander W. Biddle, Mrs. John Cadwalader, Mrs. Charles B. Coxe, 
Miss Mary K. Gibson, Mrs. Clement A. Griscom, Mrs. Austin S. 
Heckscher, Mrs. C. E. Ingersoll, Mrs. Frank H. Rosengarten, Mrs. 
Cornelius Stevenson, Mrs. Theodore Voorhees and Mrs. L. C. Van- 
dergrift and Mrs. Oscar R. Jackson of Wilmington, Del. 

Ruy sith: circle and balcony boxes were reserved for the officers 
of the Women’s Committee for the Philadelphia Orchestra and their 
guests. The list of Philadelphia guests included the following: Mr. 
and Mrs. John E. Reyburn, Mr. and Mrs. Edward H. Coates, Mr. and 


[ 82 ] 





Mrs. Charles Grafly, Mr. and Mrs. C. C. Zantzinger, Mr. and Mrs. 
Charles L. Borie, Mr. and Mrs. Edgar V. Seeler, Mr. and Mrs. Harri- 
son S. Morris, Mr. John Luther Long, Mrs. Owen Wister, Jr., Mr. and 
Mrs. H. B. Fine, of Princeton, N. J., Miss Alice Nevin, Lancaster, 
Pa., Mr. and Mrs. Frederick Martin, of Harrisburg, Pa. 


‘The following ladies had charge of the memorial services: Mrs. 
W. W. Arnett, chairman; Mrs. A. J. Dixon, Mrs. H. E. Yarnall, Mrs. 
Thomas S. Harrison, Miss Anne Thomson, Miss Nina Lea, Mrs. F. H. 
Rosengarten, Mrs. George Widener, Mrs. John B. Miles and Mrs. W. 
L. McLean. 


Tue Furure 


The Board of Directors immediately began to look for a 
successor to Fritz Scheel. Various proposals were made, 
among them one to Franz Kneisel, who was forced to 
decline by a storm of protest from his New York admirets. 
At the Annual Meeting held May 14, 1907, this announce- 
ment was made: 


‘“Though the association has sustained a great loss in the 
death of Mr. Scheel, who labored with untiring zeal, 
achieving successful results in bringing our orchestra to a 
high plane of musicianship, the ani may be assured that 
his place will be worthily filled. At the present moment, 
however, the Executive Committee is compelled to face a 
question of some embarrassment in selecting the successor 
to the late Mr. Scheel. Fortunately, your committee is in 
receipt of applications that include many of the representa- 
tive conductors in the world of music, and, in consequence 
of this wealth of material from which to select a conductor, 
the question of arriving at a decision is rendered somewhat 
puzzling. The public may rest assured, however, that a con- 
clusion may be speedily reached, and a conductor named 
_who will meet with the approval of all.”’ 


Tue Musicat Recorp 
1900—I1 907 

Fritz Scheel’s musical achievements were outstanding, 
considering that he was organizing a new orchestra under 
difficulties, both artistic and financial. The list of important 
works presented by him is of interest, for besides the com- 
positions of European composers, he also brought forward 
those of American and Philadelphia musicians. 


[ 83 ] 


1900-01: Edward A. MacDowell: Concerto for Piano. 

1go1-oz: Dvorak: *‘Heldenlied.’’** 

1902-03: Beethoven Cycle, including Ninth Symphony with Chorus; 
Mozart, Aria for Contralto piano and orchestra. Martinus’ 
Van Gelder* Symphony, A major (dedicated to Mr. Scheel). 

1903-04: Beethoven: Ninth Symphony; Jan Sibelius, Swan of Tuo- 
nela;** Frank G. Cauffman,* ‘“‘Salammbo;’’ Camille W. 
Zeckwer,* Concerto for piano and orchestra (composer at 
the piano). 

1904-05: Vincent d’Indy, Second Symphony, B flat.** 

1905-06: Mozart Programme: 
One Hundred and Fiftieth Anniversary of the 

Birth of Mozart. 
January 26-27, 1906. 


Soloist: Mme. Charlotte Maconda, Soprano 


Pe Symphony, G minor 
rly Recitative and Aria from ‘“The Marriage of Figaro’ 
1s A Short Serenade (Eine kleine Nachtmusik) 


for two violins, viola, violoncello and bass 
4. Aria from ‘The Magic Flute”’ 
a Overture to “‘The Magic Flute’’ 


Wassili Leps;* ‘‘Andon’’ (poem by John Luther Long*). 
1906-07: Beethoven; Ninth Symphony. 


Scheel possessed a fine music library, which was an asset 
to an orchestra just starting out in an almost penniless con- 
dition. It contained standard orchestral scores of symphon- 
ies, overtures, violin and piano solos with orchestra, as 
well as music suitable for popular concerts, operatic selec- 
tions, and smaller orchestral works. He was never handi- 
capped on account of the lack of music for besides this the 
Association was constantly purchasing what was needed. 
In addition to first performances in America, there were 
constant novelties at the concerts and the artistic standard 
was high from the outset. A glance over the programmes 
shows that while on occasion minor works were presented 
which are now not generally played, the works of the great 
masters predominated. Inthis way the taste of the audience 
was trained and for this education Philadelphia owes to 
Fritz Scheel much of its ability to appreciate and enjoy 
music today. 

*Philadelphian 
**First performance in America. 


| 84 ] 








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SCHEEL MEMORIAL TABLET 


A TRIBUTE 


‘The man who really made The Philadelphia Orchestra 
from a musical standpoint is Fritz Scheel. I never knew him 
personally, but he must have had very high musical ideals. 
They are evident in everything he did. Also, he must have 
had a wonderful faculty for choosing the highest type of 
artists for the orchestra; he set a standard then which has 
been difficult to live up to musically. Such artists as Rich, 
Horner, and Schwar (to mention only a few of the many 
who are still remaining in The Philadelphia Orchestra from 
Fritz Scheel’s time) are absolutely in the first rank for their 
instrument, not only in America but in the whole world. 
It was Scheel’s vision that laid such a wonderful foundation 
for this orchestra; that was very difficult, but in most 
cases I feel that we have at last succeeded; but we never can 
sufficiently recognize the debt we owe to Fritz Scheel; the 
good work he did and the influence of his ideals seem to live 
on forever. | 

LEopoLtp STOKOwsKI.’’ 


[85 ] 





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CHAPTER [| 
Tue Next STEp 


The Board of Directors was now obliged to find a new con- 
ductor for the Philadelphia Orchestra. A survey of America 
did not bring fruitful results. Orchestral conductors were 
few in this country in those days, and the Board was deter- 
mined to engage no man but one competent to carry on the 
work so well begun. Therefore it was decided to send the 
business representative of the Association, Charles A. Davis, 
abroad on this quest. After visiting Steinbach in Cologne 
and Mottl in Munich, who both recommended Carl Pohlig, 
Mr. Davis went to Stuttgart, where Pohlig was the director 
of the Court Orchestra of the King of Witirtemberg. After 
consultation with the officers, an offer was made to him to 
become the leader of the Philadelphia Orchestra for a term 
of three years, which was accepted. 

Carl Pohlig was born at Teplitz, Bohemia, in 1864. Like 
Robert Schumann, he was the son of a bookseller. His first 
musical studies were at the piano. Early in life, while attend- 
ing the gymnasium at Weimar, the talented boy was cor- 
dially received by Franz Liszt, and was permitted to accom- 
pany the master on his journeys to Rome, Budapest and 
other cities, this privilege being shared only by Tausig, 
von Biilow and Rubinstein. He thus learned many Liszt 
traditions. 

After having toured Germany, Austria, Russia, Scandi- 
navia and Italy, he became Kapellmeister at Graz. Later he 
was associated with Mahler at the Opera in Hamburg: then 
at Covent Garden, and Bayreuth, where he trained artists 
for the Wagner Festival. Pohlig conducted symphony con- 
certs following this operatic experience and appeared in 
Coburg, Stuttgart, Berlin, Frankfort, Munich and other 
cities. Finally he was offered the position of First Court 
Kapellmeister to the King of Wiirtemberg, whence he came, 
by permission, to Philadelphia. 

The “Neue Musik Zeitung,’’ one of the best musical 
es in Germany, speaks thus of Carl Pohlig as con- 

uctor: 


[ 89] 


‘In the symphony concerts he directs with equal fervor the works of 
Beethoven, Mozart and Haydn, as well as the creations of the later 
great masters. It goes without saying that Liszt is especially dear 


to him.”’ 
* * * * * 


‘‘Pohlig directs with fire and deep feeling, and with a certain clear- 
ness that can only spring from a quiet insight into the innermost 
content of the music; into the finest fibre of its design. 


The new conductor entered upon his duties in Philadel- 
phia in the autumn of 1907, presenting for his first concert 
the following programme: 


THE PHILADELPHIA ORCHESTRA 
Caru Pou tic, Conductor 


First AFTERNOON SYMPHONY CONCERT 
Friday Afternoon, October 18th, 1907, at 3.00 


First EVENING SyMPHONY CONCERT 
Saturday Evening, October 19th, 1907, at 8.15 


PROGRAMME 


1. Lupwic Van BEETHOVEN (1770-1827) 
1. Overture ‘‘Fidelio”’ 
2. Overture ‘“‘Leonore No. 3”’ 
3. Symphony No. 5, in C minor, Op. 67 
I. Allegro con brio 
II. Andante con moto 
Ill. Allegro-Allegro, Presto 


2. Richarp WAGNER (1813-1883 ) 
4. Vorspiel, ‘‘Meistersinger’’ 
5. ‘Siegfried Idyll”’ 
6. Overture, ‘‘Tannhaeuser’’ 


Pohlig was warmly received by the audience and acclaimed 
by the critics as the following will show: 


North American, October 19, 1907: 
‘‘SocrgTY, FASHIONABLE AND CULTURED, CHEERS PouLic. 
Music Lovers Turn Out IN Force To Hear Tuis 
SEASON'S PHILADELPHIA ORCHESTRA'S First CONCERT 
‘Conductor Carl Pohlig came, waved his baton and conquered at 
the Academy of Music, yesterday afternoon—the first concert of the 


Philadelphia Orchestra’s regular season. The new musical director’s 
local début was a brilliant success and an artistic triumph."’ 


[ 90 ] 





© Haeseles 


CARL POHLIG 





“The house was crowded. It was apparent almost from the outset 
that Conductor Pohlig was a master artist and craftsman. He knew 
his business—‘the first among German conductors,’ as Felix Mottl 
styled him. The great audience, representing fairly Philadelphia's 
highest artistic culture, quickly recognized the new orchestral direc- 
tor's high and rare quality. By the time the ‘Leonore’ Overture was 
ended, mystic cords of sympathy between conductor and audience 
were flung out and firmly fastened. The immortal Fifth Symphony, 
mightiest of musical creations—was awaited with pleased expec- 


tation.’’ 
ee at ae ee 


INTERPRETATION OF WAGNER 


“Mr. Pohlig’s initial programme was too long—two hours of solid 
music. He does not think so—he broke his watch crystal in an ener- 
getic explanation. 

‘““There was some weariness over the Wagner music—Mr. Pohlig 
has not yet got his band keyed up to the marvelous complexion of 
the master of Bayreuth. But again it was quite clear that conditions of 
Wagnerian interpretation were as familiar to him as were the canons 


of classical music.”’ 
* * * * * 


“There was no uncertainty of tempo, and when the tremendous 
finale of the “Tannhaeuser’ prelude was stilled, the people rose in their 
seats and acclaimed the new conductor in vociferous accents.”’ 


* * * * * 
Name and date of newspaper unknown: 


““Crry Taxzs COMMANDING PLACE IN CounTRY’s MusIcau 
GrowTu. Cary Pouiic, New SymMpHony ConDUCTOR, 
Tuinxs AMERICA’S FuTrurE Puace WILL BE First 


‘‘A dozen years ago, a symphony concert in Philadelphia meant the 
atrival of an out-of-town organization, and the gathering of a sparse 
audience, dismally scattered through the Academy of Music. The 
writer remembers when on one occasion, in 1899, the Boston Sym- 
phony Orchestra played to a handful of people in our city because of 
inclement weather. The reports of the inception of orchestras like the 
Pittsburgh, the Chicago, the New York Philharmonic and others 
reveal what an uphill struggle was forced upon these musical bodies 
because of the lack of interest in musicin the various large communities. 

“So different is the story today, that one is almost puzzled to ac- 
count for a change, which has led Herr Pohlig, the new Conductor 
of the Philadelphia Orchestra, to remark: ‘Musically Hemme Ger- 
many is the land of the setting sun; America the land of the rising 
sun. His enthusiasm is not the result of the newcomer’s optimism, 
for Europe has kept track of our musical progress, and is acquainted 
with the fact that in a few years Philadelphia has been able to inau- 
gurate season upon season of successful concerts given by its owa 
orhcestra, that Chicago’s magnificent organization created by Theo- 


[91] 


dore Thomas, is now on a self-supporting basis, and that Pittsburgh, 
Boston, New York and Minneapolis are musical communities of great 


importance.’ 
* -* K * * 


“Asked about his plans for the concerts to be given this winter, 
Mr. Pohlig talked unhesitatingly and with enthusiasm. The first 
question put to him involved the type of music he would arrange for 
Philadelphia music lovers, and was a query whether this would be 
of the same nature he would have furnished a German audience. He 
said promptly: ‘Of course, Philadelphia should get the best and pre- 
vious programmes show it has been getting it. And, of course, it must 
get everything. All schools of music should be represented. If any- 
thing, a modern conductor must be cosmopolitan.’ 

‘His mode of arranging his programmes will be new to Philadel- 
phia concert-goers, who have been accustomed to a programme with 
the symphony either at the opening of the concert or at the end. Mr. 
Pohlig will have the symphony divide the programme into two, 
where it serves the purpose of balancing the music of the recital. He 
intends, if the opportunity offers, to combine with local singing 
organizations for the production of music for chorus and orchestra 
hitherto unheard in America. His belief in the great spirit of modern 
music will give Philadelphians the chance of hearing the composi- 
tions of European contemporaries. ... . 2 

* * * * 


Pohlig’s first New York concert on November 5th, 1907, 
did not meet with approval, which considering the pro- 
gramme presented is not strange, but the comments were of 
such a nature as to call down the wrath of at least one 
Philadelphia newspaper which retorted in kind. As New 
York has since capitulated this can be inserted. 


A Philadelphia Newspaper, November 7th, 1907: 


‘*PoHitic IN New York. Fiincs sy Musica Critics AT THE 
PHILADELPHIA ORCHESTRA AND Its NEw ConDUCTOR 


“The views of the musical critics of New York concerning Carl 
Pohlig upon his first appearance with the Philadelphia Orchestra in 
that city on Tuesday evening are not altogether flattering. The Sun, 
as might be expected, leads in its light-hearted attack. Pohlig ‘is em- 
ployed in the pleasant city of Philadelphia, where he conducts the 
local orchestra. Its work was so rough as to cause wonder that the 
organization should have been brought all the way across the State 
of New Jersey.’ 

“The Times says that ‘the orchestra is a good assemblage of musicians 
that clearly brought all of Mr. Pohlig’s intentions to realization. He 
is a strenuous conductor of advanced view as to the treatment not 
only of Liszt but also of Beethoven.’ 

‘The Tribune says: ‘It was a rather unfortunate conjunction that of 
the Philadelphia Orchestra with its new conductor, Carl Pohlig; 


[ 92 ] 


Richard Buhlig, pianist, and Carl Klein, violinist, at Carnegie Hall 
yesterday afternoon. Coming alone, and at a more opportune time, 
each might have won a more dignified hearing and more serious con- 
sideration than were possible under the conditions which prevailed 
yesterday.’ 


‘The New York public is ‘already booked for three-score and ten 
of the kind of concerts which it gives.’ However, Mr. Pohlig ‘pre- 
sented himself as a conductor of quite admirable capacities so far at 
least as a command of the technics of his art is concerned (leaving all 
questions of interpretation open).’ 


The World speaks of the incapacity of the orchestra, who seriously 
hampered the soloist, by as wicked an accompaniment as was ever 
heard at a first-class concert. 


“Provincial was writ large over the whole proceeding, and one 
felt tempted to inquire: ‘““‘Why Herr Pohlig; why the Philadelphia 
Orchestra; why Richard Buhlig?’’—at any rate in New York.’ 


‘In Beethoven's Fifth Symphony, however, Herr Pohlig ‘effectu- 
ally removed previous impressions and stamped himself at once as a 
thorough musician, a graphic conductor of real distinction, possess- 
ing authority, temperament, magnetism, poetic feeling and imagina- 
tion. One could quarrel with his rather slow tempi and liberties of 
phrasing, if inclined to be ap pons) but the interpretation of this 
great work was so well planned and coherent, that it aroused decided 
enthusiasm.’ "’ 

EDITORIAL 


The Same, November 7th, 1907: 
‘‘New York SNOBBERY 


“It is not pleasant to utter harsh judgments against a neighboring 
city, but New York does much constantly to deserve them at the 
hands of Philadelphians. The smug self-sufficiency of the three or four 
millions of people who reside on or in contiguity to Manhattan 
Island, is comical to witness, and we are again reminded of this atti- 
tude by the unjust criticism which the newspapers have launched 
against the Philadelphia Orchestra upon its first visit to New York 
under its new conductor. This accomplished musician has had the 
leadership of excellent organizations in Europe, where this form of | 
art was more or less known and enjoyed while New York was in- 
habited by the Indians. He came here not without some right to a 
respectful hearing, and since his arrival has received it in this city 
from a public, which, we venture to say, is as discriminating as any 
that can be assembled upon the tongue of land which is bounded by 
the Hudson River and Long Island Sound. Remarks such as we reprint 
elsewhere today do not fall under the head of criticism. They are a 
form of cheap wit, which is supposed to be demanded by the in- 
habitants of this arrogant and insular community at the expense of 
the people, the products and the institutions of Philadelphia. 


‘The slurs of the press at our music, books, art and much besides, 
do this city no particular harm. We are above any need of the endorse- 


[ 93 | 


ment of the self-centered elements which congregate in New York. 
The support which it gave to the union during the war was notably 
reluctant. Its patriotism was always in doubt. It was the centre of 
disloyal conspiracy. A spirit of selfish commercialism rules its affairs, 
and it was only by force made to observe its national duty. Since that 
time it has been under foreign government, and it is without a doubt 
the least American of our cities. It has less love for our history as a 
nation; it is more willing to sell its birthright for a joke or a dollar 
than any community which has yet been established within American 
borders, and its swaggering air causes it to be loved by the citizens of 
other portions of the Union about as much as they love a produce 
market or a Midway Plaisance. 

“It is nothing at all to Philadelphians whether New Yorkers like 
our orchestra, our books, our poets, our historical personages, our 
pictures, our homes, or anything else that is ours. They may go on 
their sneering way amusing themselves from day to day, as they see 
fit. They will find, if they make the effort to inquire, that most of the 
mind and the soul, as well as the body of this nation have lain and 
still lie in lands that they do not dominate. They may say what they 
will, but their manners might be mended to their own conspicuous 
advantage. That is all.”’ 


At the expiration of Pohlig’s contract the Association 
renewed it for three years more. 

Pohlig was a fine-looking man of German military style, 
more popular in America previous to 1914 than it has been 
since. His platform manner was excellent and his appear- 
ance was elegant, and he made a good impression on his 
audience. He was, however, of a difficult disposition, which 
made dealings between him and the musicians, and the 
Board of Directors, trying and difficult. This was the final 
cause of his resignation, presented on June roth, 1912. 


Tue Musica Recorp, 1907-1912 


Under the direction of Carl Pohlig, the orchestra con- 
tinued to develop and improve. He was a competent and 
well-trained musician, and was on his mettle to do his best 
in an artistic way to keep up the precedents established by 
the first conductor. He continued to give unusual perform- 
ances and to keep abreast of the day by producing modern 
works, among them his own symphony, ‘‘Per Aspera ad 
Astra’’ (‘A Hero’s Death and Apotheosis’’), in which 
members of the Eurydice Chorus took part. 


1907-08: Carl Pohlig, Symphony, ‘‘Per Aspera ad Astra."’ 


1908-09: Frank G. Cauffman*, “‘Legende’’; Philip H. Goepp*: Aca- 
demic March. 


*Philadelphian. 


[94] 


Feb. 26th —- 27th, 1909: Mendelssohn Centenary: Midsummer Night's 
Dream with Ben Greet Players. 
Chaminade: Concertstiick, piano and orchestra (composer 
at the piano). 

1909-10: November 26th — 27th, 1909: Rachmaninoff, Symphony 
No. 2, E minor, conducted by the composer; Moussorgsky, 
“La Nuit sur le Mont Chauve,’’ Rachmaninoff, guest con- 
ductor; Wm. W. Gilchrist*, Symphony No. 1, C major, 
conducted by the composer. 


1910-11: November 11th — 12th: Schumann: to commemorate the 
One Hundredth Anniversary of his birth 1810, Symphony 
No. 1, B flat major: Henry Hadley, guest conductor, Cantata 
“The Culprit Fay,’’ Op. 62, after Joseph Rodman Drake, 
conducted by the composer: November 11th and 12th, 1910, 
St. Saéns, Symphony No. 3, in honor seventy-fifth birthday 
of composer: Louis von Gaertner*, Tone Poem ‘‘Macbeth.”’ 
Celeste D. Heckscher,* ‘‘Dances of the Pyrenees.”’ 


1g11-12: October 27th — 28th: Liszt Centenary. Henry Hadley, Sym- 
phony No. 3, B minor. 


March 8th — oth: Brahms Symphony No. 3, F major, to celebrate 
seventy-ninth anniversary of his birth, March 7th, 1833. 
Herman Sandby, Prelude to “The Woman and the Fiddler’’ 
(play by Mrs. Sandby). 


*Philadelphian. 





[95 ] 


vie he 

RYE ENS 
Lis Uhr 
” ; ib 





PART III 


CHAPTER | 
THE CoMING OF LEOPOLD STOKOWSKI 


The summer of 1912 brought the Board of Directors, for the 
second time in five years, face to face with the problem of 
securing a conductor. Again the place was waiting for the 
man, but under far different conditions from those in the 
summer of 1899, when Fritz Scheel was found at Woodside 
Park. Philadelphia had a good orchestra, a growing audi- 
ence tended carefully by the four Women’s Committees, and 
a Guarantee Fund in a more or less satisfactory condition. 
It was an opportunity. The Board of Directors looked 
around the field again. They had heard of a young man, 
Leopold Stokowski, recently conductor of the Cincinnati 
Orchestra, and heard well of him. Mr. Andrew Wheeler 
knew him and suggested approaching him. He was then in 
Europe, so he was cabled to, and accepted the position. 

The first concerts under Mr. Stokowski took place on 
October 11th and 12th, 1912, with the following pro- 
gramme, which inaugurated the third period of the 
Philadelphia Orchestra, and one which has been a story of 
constant artistic development, until now this orchestra 
ranks with the great orchestras of the world. 


THE PHILADELPHIA ORCHESTRA ASSOCIATION 
CINCORPORATED ) 


MAINTAINING 
Tue PHILADELPHIA ORCHESTRA 


(Founded 1900) 
Lzoprotp Stoxowsk1, Conductor 
First Parr or SYMPHONY CONCERTS 


Friday afternoon at3.00 — Saturday Evening at 8.15 
October 11th and 12th, 1912 


PROGRAMME 
1. Lupwic vAN BEETHOVEN............ Overture, “‘Leonore No. 3”’ 
(1770-1827) 
2. JOHANNES BRAHMS......... Symphony No. 1, in C minor, Op. 68 


(1833-1897) 


[99 | 


I. Un poco sostenuto; Allegro (6/8) 
II. Andante sostenuto (3/4) 
III. Un poco allegretto e grazioso (2/4) 


IV. Adagio-piu andante; Allegro non 
troppo, ma con brio (4/4) 


3. Micuazt Ippotirow-Iwanow..... ‘Sketches from the Caucasus”’ 
CIS or ie 
I. In the Mountain Pass 
II. The Mountain Village 


III. March of the Sirdar 
(First Time at These Concerts) 


4, RICHARD WAGNER eyo) we ee Overture ‘‘Tannhauser’’ 
(1813-1883 ) 


Public Ledger, October 12th, 1912. 


‘“*\7ew CoNDUCTOR OF PHILADELPHIA ORCHESTRA 
TENDERED OVATION IN ACADEMY 


“Leopold Stokowski made his début yesterday afternoon at the 
Academy as conductor of the Philadelphia Orchestra, in the opening 
concert of its thirteenth season. Every seat was taken and the extra 
chairs had been placed within the orchestra rail. There was much 
enthusiasm, manifesting itself at the beginning in prolonged applause 
as Stokowski came forward with bowed head, evidently pondering 
the content of his musical message. Those who went forth to see a 
hirsute eccentricity were disappointed. They beheld a surprisingly 
boyish and thoroughly business-like figure, who was sure of him- 
self, yet free from conceit, who dispensed with the score by virtue 
of an infallible memory, and held his men and his audience from first 
note to last firmly in his grasp. 


“Mr. Stokowski has known the players, and they have known 
him, for only four days of actual rehearsal, and it was not to be 
expected that the organization at the outset would manifest the 
homogeneity to be expected later. Yet in this brief time the new 
leader has been surprisingly successful in welding the several choirs 
into a single coherent entity. They played yesterday with a unity of 
purpose—particularly among the first violins—not usually attained 
until mid-winter. They brought out the full value of the lights and 
shadows. The climaxes were duly accentuated, the pianissimos with 
the utmost delicacy and refinement were contrasted with the full 
throated polyphony. 


**‘METHODs OF CONDUCTOR 


“Mr. Stokowski’s conducting is after the order of Nikisch, whom 
he frankly admires. He does not tear a passion to tatters. He holds his 
thunders and the winds of Aeolus in a leash. His gestures are graphic, 


[ 100 | 











©r 


. T. Dooner 





LEOPOLD STOKOWSKI 





the arcs and parabolas he describes tell of a kind of geometrical trans- 
lation going on in his mind, whereby he visualizes the confluent 
rhythms in outward action. At impassioned moments his move- 
ments have the freedom of a violinist’s bow arm; at other instants he 
brings his fists against his shoulders with vehement concentration, 
or his uplifted eloquent left hand pleads with some suppressed choir 
to come forward and assert itself in power. There is, from first to last, 
no languor or slackened moment; he directs with a fine vigor and 
intensity that mounts to ecstasy yet does not lose its balance or forget 
its sane and ordered method. 


**TRIBUTE PRESENTED 


“At the close of the symphony a laurel wreath was laid on the 
dais ere Mr. Stokowski found his way to the footlights in response 
to the tumultuous applause. The wreath was so large that he stood 
in it while he called upon his musicians to rise, himself applauding 
their efforts and modestly disavowing his leonine share of the credit." 


It soon became apparent that Philadelphia had something 
very unusual in Leopold Stokowski. He was young, but 
rarely gifted, and he dedicated himself to reaching a high 
artistic goal for the Philadelphia Orchestra. His plans were 
of a daring character and at times almost took away the 
breath of the Board of Directors; for instance, when the 
idea of giving Mahler’s Eighth Symphony was presented 
and Mr. Stokowski announced that it would cost 
$14,000. There was much discussion, as the Board was con- 
vinced that this performance would be unpopular and not 
a success from a financial point of view. However, the desire 
to have the name of the orchestra connected with produc- 
tions of an unusual nature and to keep ahead of the times 
musically, won the day, and it was decided in 1915 to pro- 
duce this gigantic choral work in March 1916. 

The story of this production is dramatic from the moment 
that Leopold Stokowski, after having secured the rights for 
the first American performance, escaped from Munich in 
August, 1914, with the score in a handbag, all he had time 
to pack. Mr. Stokowski was at that time still a British sub- 
ject, having only taken out his first papers for American 
citizenship. 

Having secured the consent of the Board of Directors to 
produce this symphony, this announcement was issued. 


[ ror | 


THE PHILADELPHIA ORCHESTRA 


Lzopoip Stoxowsk1, Conductor 
First Performances of the Mahler Eighth Symphony 
Academy of Music, Philadelphia 
Thursday Evening—Friday Afternoon—Saturday Evening 
March 2, 3, 4, 1916 
Metropolitan Opera House, New York 
Sunday Evening, April 9, 1916 
With Orchestral and Choral Forces of Over One Thousand 
and the Following Soloists: 


FLor—eNceE HInkK iE, Soprano ADELAIDE FiscuEr, Soprano 
Inez Barsour, Soprano MarGarET Keyss, Contralto 
SusANNA Dercum, Contralto LaMBERT Murpny, Tenor 


REINALD WERRENRATH, Baritone CLARENCE WHITEHILL, Basso 


First Chorus—The Philadelphia Orchestra Chorus, 400 
Children’s Chorus, 150 


Second Chorus—Philadelphia Choral Society, Mendelssohn Club 
and the Fortnightly Club, 400 


“The Philadelphia Orchestra Association takes pleasure in announc- 
ing three performances in Philadelphia of Gustav Mahler’s Eighth 
Symphony and, under the auspices of the Society of Friends of Music, 
one sedate ean in New York. The first Philadelphia performance is 
the first presentation of this work in America, and is given under an 
exclusive contract with the publishers. Although other famous organi- 
zations had approached the Universal-Edition in Vienna, to the 
Philadelphia Orchestra fell the honor and artistic responsibility of 
presenting this work for the first time to the American public. The 
production of the work, requiring three choruses aggregating 950 
voices, an orchestra of 110, and 8 soloists, entails a cost for the Phila- 
delphia performances alone of approximately $15 ,000.”’ 


* * KF * 


“The New York performance owes its possibility to the public 
spirit and generosity of the Society of Friends of Music, and will be 
given with the complete forces employed in Philadelphia. This single 
production will cost approximately $12,000. 

“Owing to the great magnitude of the work and the great demand 
which it makes on the musical forces employed, it is extremely doubt- 
ful whether it can receive many performances in America. Two years 
have been spent in preparation in order that the rendition of the work 
might realize the ideals of the composer. That the value of the work 
is appreciated is shown by the fact that orders for seats have been 
received from all over the eastern and middle western sections of this 
country. The Friday and Saturday performances in Philadelphia are 
sold out and many mail orders have been received for Thursday night. 
An early application for seats should be made. 


[ 102 | 





‘“PRICES OF TICKETS FOR THE First PERFORMANCE AT THE 
Acapemy oF Music, Taurspay Eventnc, Marcu 2, aT 8.15 


Bee eed CONV DOX SCAS os se ns ee ge ogee dew vee $3.00 
Parquet and Parquet Circle, first two Rows in Balcony.......... 2.50 
Remainder of Balcony and first two Rows in Family Circle.... 2.00 
epeand Fourth Rows, Family Circle... 202.066... eee. 1.50 
(OVS CEST BUSEY 3) (ESRI a a 1.00 
Re i cieat eer Pel L WO ROWS .65 0625 c ec ees ties ee caer ses 1.00 
ERD eMMOTCSELVCC Jon oho yy gd cee else ee eka dees .50 


* * %«* +« 


(The Friday Afternoon and Saturday Evening performances bein 
already sold out, no orders can be taken for these two eerie 


ARTHUR Jupson, Manager Louis A. Mattson, Asst. Manager’ 


Work with the two choruses which sang in German and 
in Latin began in October, 1915. Hitherto the orchestra had 
had no chorus of its own, but was obliged to depend on the 
good will of Philadelphia choral organizations to co-oper- 
ate in producing choral works. Now for the first time the 
name “Philadelphia Orchestra Chorus’’ appeared, and, as 
the first chorus of 400 members, was trained by Mr. 
Stokowski. The second chorus of 400 voices was rehearsed 
by Mr. Henry Gordon Thunder. 


The requirements were severe as to personnel and re- 
hearsals. The spring was occupied in the selection of 
voices. When rehearsals began in October, men and women 
were rehearsed separately until January. After that they 
had weekly rehearsals together. Singers who were inatten- 
tive or who skipped rehearsals were not retained, and to- 
wards the end everybody was over-worked and wrought up 
to a pitch of excitement. 


NINETEENTH PROGRAMME 
Friday, March 3rd, at 3.00 Saturday, March 4th, at 8.15 


THE PHILADELPHIA ORCHESTRA 


Lzopro.tp Stoxowsk1, Conductor 


PROGRAMME 
SRE Gh Pokies ks oacchgh ate se) bend Gustav MaHLeR 
(1860-1911) 
Part I. Hymn, ‘“‘Veni, Creator Spiritus’’ 
Part II. Final Scene from Part II of Goethe's ‘‘Faust’’ 


(First performance in America) 


[ 103 | 


ASSISTING FORCES: 


Una Poenitentium, Florence Hinx1ez, Soprano 
Magna Peccatrix, Inez Barsour, Soprano 
Mater Gloriosa, ADELAIDE FiscHER, Soprano 
Mulier Samaritans, MARGARET Keyes, Contralto 
Maria Aegyptiaca, Susanna Dercum, Contralto 
Doctor Marianus, Lampert Murpuy, Tenor 
Pater Ecstaticus, REINALD WERRENRATH 

Pater Profundus, CLARENCE WHITEHILL, Basso 


Augmented Orchestra of 110 


First Chorus: 


Tue PHILADELPHIA ORCHESTRA CHORUS, 400 


Second Chorus: 


PHILADELPHIA CHORAL Society, MENDELSSOHN CLUB 
and THe ForTNIGHTLY CLuB, 400 


CHILDREN S CHORUS OF 150 
The English version (by Mr. Philip H. Goepp) of Specht’s Analysis 
may be obtained in the lobbies of the Academy 


Mr. ConsTANTIN VON STERNBERG at the Piano 

Mr. Henry Gorpon THUNDER at the Organ 

Mr. WILLIAM SILVANO THUNDER at the Harmonium 
Mr. HEeppa VAN DEN BezeEmrT at the Celesta 


While there were varying opinions about the musical value 
of thissymphony, the manner of producing it evoked but one. 
In order to make the event national in character, prominent 
musiciansfrom all parts of America were invited to be present 
at the first performance. Among the many notable persons 
from other cities were: Mr. and Mrs. Ossip Gabrilowitsch, 
Mr. and Mrs. Harold Bauer, Mr. and Mrs. Josef Hofmann, 
Mr. and Mrs. Ernest Hutcheson, Dr. and Mrs. Ernest Kun- 
wald, Mr. and Mrs. Harold Randolph, Mr. and Mrs. Ernest 
Schelling, Mr. and Mrs. David Mannes, Mr. and Mrs. 
Samuel Untermeyer, Mr. and Mrs. Gustav Strube, Judge 
and Mrs. J. Butler Woodward, Mr. and Mrs. J. Fred Wolle, 
Mrs. Werrenrath, Mrs. William M. Bannard, Miss Kitty 
Cheatham, Dr. A. G. Rolfe, Oscar Go Sonneck) Albert 
Spalding, Kurt Schindler and Theodore Spiering. 


[ 104 ] 





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THE PHILADELPHIA ORCHESTRA AND MAHLER CHORUS 


Public Ledger, March 3rd, 1916: 
““MAHLER’S WORK AND STOKOWSKI SCORE TRIUMPH 


THousANps AT ACADEMY oF Music ArousED To HiGuH Pitcu or 
EntuusrasmM. Notep Musicians Give PratszE to PropucTION 
PROMINENT PERSONS FROM ALL OVER CountTRY ATTEND 
RENDITION HERE 


‘Every one of the thousands in the great building was standing, 
whistling, cheering and applauding, when Leopold Stokowski, his 
collar wilted, and his right arm weary, but smiling his boyish smile, 
finally turned to the audience in the Academy of Music last night. 

‘He had scored, so famous musicians agreed, the greatest triumph 
of his career, the greatest triumph the Philadelphia Orchestra has 
known in its sixteen years of life and he had done it on a stupendous 
scale with the American premiére of Gustav Mahler’s Eighth Sym- 
phony. He carried along with him to triumph an orchestra numbering 
I10 pieces and a chorus of 958 singers, to say nothing of the city’s 
music lovers and scores of musical pilgrims from other cities. 

‘For evety one who is any one in musical America was here for the 
Mahler American premiére last night or will be here when the tre- 
mendous work is repeated this afternoon and tomorrow night. The 
boxes were filled with famous musicians and musical authorities. One 
and all stood, applauding Mr. Stokowski and the symphony, while 
the orchestra members blared a ‘touche’ in honor of their leader. 

‘The scenes at the Academy set nerves tingling. Two weeks before 
the performance every seat had been sold. Fifteen minutes before Mr. 
Stokowski swung his baton upon his augmented orchestra and upon 
the great chorus, banked 24 tiers high, horns blew a fanfare in the 
foyer of the Academy of Music, following an ancient custom at 
Bayreuth. The curtain rose and the audience gasped. 


“The 958 singers filled the great stage from footlights to roof and 
the orchestra was upon an apron that has been built out into the 
house. 


‘The first twelve rows of singers were women, dressed in white. 
Above them were twelve rows of men, with a gardenia-like spot of 
gitls, members of the children’s chorus, pinned, it seemed in their 


midst.’’ 
* * * * * 


“Alexander Van Rensselaer presented a wreath for the orchestra. 
It was inscribed “To Leopold Stokowski in commemoration of the 
first performance of Mahler’s Eighth Symphony in America, March 
and, 1916.’ | 

Mr. VAN RENSSELAER'’S REMARKS 

‘In presenting the wreath, Mr. Van Rensselaer said: 

“The directors of the Philadelphia Orchestra Association feel that 
the presentation of this Eighth Symphony of Mahler this evening for 


the first time in America, marks an epoch in the musical history of 
Philadelphia to which no other event 1s comparable. 


[ 105 | 


ote 


This occasion is memorable not only because the Mahler Sym- 

hony is such an extremely difficult work, but because we have here 
in Philadelphia been able to follow out the precise instructions of the 
composer in welding into one vast instrument these great choral and 
orchestral forces which are here assembled. These two choruses of 
400 trained voices each, together with the large chorus of boys and 
girls selected from the best choirs of this city, the eight soloists of 
metropolitan reputation, and the augmented orchestra of 120 instru- 
ments, all have been trained into one vast harmonious instrument 
by you. 

‘“*We of Philadelphia are indebted for the production of this great 
work to you, our brilliant and talented couleeenm It was you who 
first conceived the idea more than two years ago of producing this 
work; it was you who made the arrangements with the publishers 
and guaranteed to them that we would produce it in the manner 
indicated by the composer and obtained from them the rights for the 
first performance in this country; it was you who chose and trained 
Chorus No. 1 and intrusted chorus No. 2 to the able direction of 
Henry Gordon Thunder, to whom our thanks are also due; it was you 
who arranged with the best choirmasters of Philadelphia to train 
this large body of boys and girls in their respective parts and it was 
you who brought together these large agencies and trained them in 
the final ensemble of this great work. 

‘“*We feel that not only the musical public of Philadelphia, but the 
entire city, owe you a debt of gratitude that never can be repaid. And 
as a testimonial from the Board of Directors of the Philadelphia 
Orchestra Association, and as an expression from them of their thanks 
to you for the successful completion of this grand work, I have plea- 
sure in presenting the victor’s crown of laurel, made in perpetual 
bronze.’ 

Repiy or Mr. Stoxowsk1 

“Mr. Stokowski lifted the wreath, and when the applause died 
down, turning to Mr. Van Rensselaer, said: 

‘It is impossible for me to put into words my emotions tonight. 
This stupendous and noble work was written six years ago. For six 
years I have been meditating the possibility of its performance and 
hoping, some day, to have the opportunity of giving it, although I 
knew the requisite forces would be extremely difficult to obtain. 

“Through a generosity for which I can never sufficiently express 
my gratitude, Mr. Van Rensselaer and the directors of the Philadel- 
phia Orchestra Association made the great undertaking possible at 
last. The dream still would have remained unfulfilled, however, had 
it not been for the hard work and willingness of the orchestra; of all 
these dear people in the chorus, who have worked for more than a 
year, training ie this night; of all the soloists, and of Henry Gordon 
Thunder, who has supported and helped me with most wonderful 
generosity. To the committee that tried thousands of voices, choosing 
this magnificent chorus, we are particularly indebted. 

‘‘‘My final and greatest debt, a debt so great that I feel I never can 
express it, is to you, the public, for your warmth and understanding 
at the first hearing of this great work. It is a great inspiration.’ 


[ 106 | 





Orrers or $100 TO OBTAIN SEATS 


“Popular interest in the Mahler Symphony’s American premiére 
was evidenced by offers of $100 a seat, reported from several of the 
large hotels, just before the Academy doors were thrown open, and 
by more than 1000 persons, lucky holders of general admission tickets 
who stood in Locust Street, or sat on newspapers spread on the 
Academy steps, for hours before the performance was scheduled to 
start. At least 100 persons were waiting at 3.30 o'clock in the after- 
noon, braving the ee for a chance at a good seat. 

“From 7 until 8 o'clock there was a steady stream of automobiles 
stopping at the Academy doors. All society and all musical Philadel- 
phia streamed into the building. The stage door was besieged by the 
neatly 1000 chorus members, who were marshaled without a hitch 
or the raising of a voice into their places. Necessary readjustments on 
and off the stage, seating arrangements, provisions for the wardrobing 
of the great chorus and the engaging of understudies for each of the 
eight soloists cost, it was said, close to $4000. This sum, of course, 
did not include the great expense entailed in training the voices dur- 
ing the last twelve months. 


“Mr. Stokowski was given two great demonstrations; the first 
during the intermission, the second at the conclusion of the perform- 
ance. Both lasted for more than five minutes. The noise was so great 
that the Academy doormen said it could be heard across Broad Street 
in the foyer of the Walton. 


Miss FLORENCE HINKLE APPLAUDED 


“Mr. Stokowski bowed until it seemed his back would break. Then 
he led forward Henry Gordon Thunder, William Silvano Thunder, 
Constantin von Sternberg and Hedda van den Beemt. The audience 
wanted more. They wanted the soloists, so forward came the eight 
of them, and as they went back Florence Hinkle, who was being 
wildly applauded by the great chorus, kissed her fingertips to them. 
Above the crescendo of applause could be heard members of the 
chorus, crying, ‘Hinkle!’ 

“One of the most interested persons present was Mrs. J. F. D. 
Lanier, president of the Society of Friends of Music, the New York 
woman chiefly responsible for the invasion of New York with the 
Mahler Symphony on April 9. She sat in the same box with the pian- 
ist, Harold Bauer. 

“In a nearby box was the pianist, Ernest Schelling. Aline van 
Barentzen, the pianist, also was on hand. Ernest Hutcheson, Harold 
Randolph, Joseph Hofmann, Ossip Gabrilowitsch, Director Bodan- 
sky, of the Metropolitan Opera and of the Cincinnati Symphony, are 
expected to be present at today’s performance. Other saeeeee 
guests were entertained last night and will be entertained today by 
the Women’s Committee of the orchestra. 


“It was announced last night that all seats for the extra perform- 
ance of the Mahler Symphony on April 4th have been sold."’ 


| 107 | 


After the third performance the Women’s Committees for 
the Philadelphia Orchestra gave a reception to Leopold 
Stokowski, and the soloists, in the foyer of the Academy. 
This was followed by a supper at the Bellevue-Stratford in 
their honor and for a few distinguished guests. 

The news of this production spread over America and 
Europe, and in Philadelphia created more excitement than 
had arisen in a generation. The demand for seats was so 
great, that it became necessary to announce extra perform- 
ances in this city, and four more were given, making a total 
here of nine, including two public rehearsals. After the last, 
orders for seats, amounting to over $10,000 in Philadelphia 
alone, had to be refused. The dress rehearsal on Wednesday 
was open to the families of the performers and some others 
at a special price. A dress rehearsal was later given for pub- 
lic school children. The first performance was ona Thursday 
night, and then followed two in the regular season series. 
By the time four audiences had heard the symphony, all who 
had not heard it were seized with an overpowering desire to 
witness this extraordinary event. 


Tue New York PERFORMANCE 


Such a journey was never before undertaken in musical 
circles here or abroad. Twelve hundred people left Philadel- 
phia by private trains, totalling seventeen cars, about noon 
on Sunday, April 9th, reached New York in time to havea 
rehearsal and dine and dress ata hotel and at 8.15 appeared 
before a packed audience which included all the musicians 
then in America. 

It was an inspiring occasion and one long to be remem- 
bered. That evening New York unreservedly acclaimed the 
Philadelphia Orchestra. Scenes of enthusiasm followed the 
first half, after a tremendous burst of applause when the 
curtain rose. But at the end the audience let itself go ina 
way never seen in Philadelphia. 

There were many musicians in the house, including Ignace 
Paderewski, the members of the Flonzaley Quartet, Mme. 
Alma Gltick and Efrem Zimbalist, Pablo Fasals, Henry Had- 
ley, Mr. and Mrs. Ossip Gabrilowitsch, Rubin Goldmark, 
Dr. Frank Damrosch, Victor Harris, Harold Bauer, George 
W. Chadwick, Mischa Elman, Emma Eames, Leopold 
Godowsky, Rudolph Ganz, Arthur Foote, David Bispham, 


[ 108 ] 


Percy Grainger, Arthur Hinton, Alfred Hertz, Franz Kneisel, 
Daniel Gregory Mason, Ernest Schelling, Walter K. Spald- 
ing (Department of Music, Harvard University), Josef 
Stransky, Arthur Whiting, Marcella Sembrich, Antonio 
Scotti, Cornelius Rtibner (Columbia University), Fritz Kreis- 
ler, Mme. Schumann-Heink, and others. 


New York Sun, April 1toth, 1916: 


“EIGHTH SYMPHONY BY MAHLER HEARD 


‘*SociETY OF FriENDs oF Music Gives CONCERT AT 
‘tHE METROPOLITAN. SENT BY PHILADELPHIA 


‘The Society of the Friends of Music, which has performed a valuable 
function in the artistic musical life of this metropolis by bringing to 
the notice of a circle of trained listeners compositions not to be heard 
at public entertainments, emerged from its privacy to give an ambi- 
tious concert last evening in the Metropolitan Opera House. The 
novelty chosen was Gustav Mahler’s Eighth Symphony, which re- 
cently had its first hearing in this country in Philadelphia. 


‘When the huge symphonic and choral creation of Mr. Mahler was 
produced in Philadelphia, it was praised with emotion and thanks- 
giving, the interpretation was considered with reverence and rapture, 
and the concert had to be—or at any rate was—trepeated several times. 
Upon the heels of this excitement, the whole show came to New York. 


“The entire cast, chorus, orchestra and conductor were brought 
across New Jersey. The Philadelphia Orchestra, numbering for this 
occasion 110 players; the Philadelphia Orchestra Chorus, a Chil- 
dren’s Chorus, the Philadelphia Choral Society, the Mendelssohn 
Club and the Fortnightly Club, constituted the choral forces. The 
presiding genius of all was Leopold Stokowski, the gifted and 
accomplished young conductor of the Philadelphia Orchestra. 


‘‘Not Aa Box OrricE SYMPHONY 


‘““Mahler’s Eighth Symphony quite properly belongs to the class 
of compositions sought by the Society of the Friends of Music. It does 
not court the attention of musical directors, who must consider the 
wishes of the general public or the demands of the box office. New 
Yorkers may regret that a local orchestra and local choruses were not 
chosen for the presentation of the work; but only by preparing for 
more than one performance could the projectors of this production 
have hoped to complete their undertaking without losses too heavy to 
confront. Mahler was not troubling himself with practical considera- 
tions when he wrote the composition. He had a purpose, which he 
catried out in the seclusion of his study. And if Hector Berlioz might 
write a requiem mass fit only for festival occasions, why not Mahler 
an Eighth Symphony?”’ 


[ 109 | 


‘After the New York performance, W.J. Henderson said: ‘‘If Phila- 
delphia believes that Mr. Stokowski is essential to her musical 
development, let her decline to permit him to conduct great concerts 
in New York. This is a piece of perfectly disinterested advice. 

“The Sun's musical chronicler would be delighted to see Mr. 
Stokowski a New York conductor. He has personality, force, author- 
ity, temperament, scholarship and imagination. His conducting of 
the Mahler Symphony was masterly. He would be a valuable factor 
in the musical life of New York.”’ 


Although the Philadelphia Orchestra is a serious work- 
ing organization, it has its moments of relaxation and plea- 
sure. Such a one was the reception and dinner given by Mr. 
Van Rensselaer to the members of the Mahler Chorus on 
March 16th, 1916, at which the following programme was 


presented : 
HORTICULTURAL HALL 


BroaD STREET, PHILADELPHIA 


PROGRAMME OF 
Mr. ALEXANDER VAN RENSSELAER’'S 
Burret DINNER 
Thursday Evening, March 16th, at Seven o’Clock 
Given to the Members of the Mahler Choruses and 
the Philadelphia Orchestra 
(dismembered ) 
Philadelphia Orchestra 
Soloists 
Horsecar Schwer!!! that’s all 
Ham Byndler!! Solo-Killest 
PROGRAMME 


Symphony “Ein Musikalischer Spass: ... >. 205 eee Mozart 
1787, German 
Allegro 
Minuetto Maestoso 
Adagio cantabile 
Presto 
(Ten Minutes Intermission at this Concert Only) 
Concerto Brosso'(1916))\,. 3.5; tee Composer unknown 
Probably an American, Philadelphian Preferred 


(First time at these concerts) 


Adagio 
Andante Soustenuto 
Large-o 
Tone Poem: Tausend Kiinstler”... 0...) ee Schreiner 
(Augmented Orchestra) 1850-1916, Bavarian 
Conductor sh aa en we Sig ad Lib. RippEus Tuatcu, Actor-conductor 


[ 110 | 


““Note—Owing to the exceptional acoustic properties of the Hall, 
the Audience is requested to refrain from ite as the slightest 
murmur might be disconcerting to the performers. It is earnestly re- 
quested by the ‘Damagement’ and the ‘Board of Erectors’ that all 
vegetable offerings and tokens be of a firm nature. 

“The personality of the orchestra will be found on the next page 
among the Programme notes composed by Professor Yxpp. 


Yes, my dear! The Piano is a Steamway 


“The next ‘Mahler-ia’ concert will take place next week at 2 
o'clock. Owing to the Philadelphia Blue-laws a very limited number 
of tickets will be available. The Knaben-chor will be heard to great 
advantage at this concert. 

‘“‘ANDREW WHEEL-HER, Secretary’ 


SPECIAL MAHLERATE PROFUNNYGRAM 
HorTIcuLTURAL HALL 


March 16, 1916 


PROGRAMME NOTEs 
OO CL ASS) 6) CO re Mozart 
Born 1756, died 1791. 


“This symphony pictures Mozart in his most happy mood. Where 
he got his inspiration from I do not know. What a pity he cannot be 
with us tonight; he would surely have an inspiration. But who knows 
what kind! 

The symphony, or, rather, first movement, opens with ‘Some 
Chords.’ However, they are in the key of ‘C’, so we are pretty safe. 
These opening chords are for the ‘Futt orchestra and are very effec- 
tive, provided they are ‘Futt ENouGu.’ 

* * * *K xX 


‘The second movement is a minuet. You will notice that there is 
three in a bar, but six in the orchestra, so you see we are at least 
mathematically even, which ought to insure a fine rhythm—somE- 
TIMES (?). There is much fervor in this movement and some wron 
notes in the horns, but why worry; they are printed in the score, oa 
are consequently correct. 
‘ * * *k Ok * 
ek as as ee Wig oaceerbule os @U i ha es Schreiner 


Bavarian 
(First time in America) 


“This work really requires ‘more men,’ but Herr Schwer thinks he 
can handle it alone. The principal theme is of a martial and military 
nature. Mr. Schwer only had one rival, and that man died long ago. 
You will not have much difficulty in following Mr. Schwer, for in 
this work the performer is very much in evidence at all times. He is 
very familiar with all of the instruments required for this composi- 
tion. He has ‘hit them’ very often and possesses an unusual amount of 


eenry | 


originality. ‘To Sze 17 1s To Appreciate It.’ Mr. Schwer will depict 
thunder claps, echoes, bombardments, combats, cavalry charges, 
charge accounts, railroad wrecks, and many other scenic effects while 
performing this work.”’ 

* * * * * 


PERSONNEL OF ORCHESTRA 


“Mozart Symphony 


J. K. Wrrzemann, Schroon Lake, N. Y- 

F. W. Coox, Hampton Beach, N. H. 

Emit Haunt, Willow Grove, Pa. 

Louis Bogusez, Profile House, N. H. 

ANTON Horner, Stone Harbor, N. J. 

JosepH Horner, Tent City, Cal. 
‘“Conductors—(negotiations pending).”’ 


This occasion was much enjoyed by about 1200 guests, to 
whom an evening of musical fun was somewhat of a novelty. 

After the production of the Mahler Symphony the Phila- 
delphia Orchestra became the most talked of orchestra in 
America. Its reputation was made. This success, however, 
did not bring about any abatement in the conductor's zeal, 
or make him relinquish his aims for the perfection of the 
orchestra. 

On the part of the Board of Directors the result was a 
determination to put the orchestra on a firm financial basis. 
This desire was so great on the part of one of them, who 
wished to remain unknown, that he planned a course of 
action which involved a large expenditure on his part, but 
which with the co-operation of 1200 Philadelphians made 
it possible to roll up 1n seven years a fund of approximately 
$800,000. 


perm 


CuHapter II 


Tue SEVEN YEAR ENDOWMENT Funp, 1916 


The question of placing the Philadelphia Orchestra on a 
firm financial foundation had been under consideration for a 
long time by the Board of Directors. Each year the Guaran- 
tee Fund was becoming more difficult to secure and more of 
a burden; besides which hand-to-mouth financing is not a 
very creditable path to travel indefinitely. When these dis- 
cussions arose, the first question always was ‘“‘How can we 
solicit money for a permanent fund and beg for a Guarantee 
Fund at the same time?’’ That question always ended against 
a blank wall. No answer suggested itself untilin May, 1916, 
Mr. Van Rensselaer received a communication from a per- 
son who wished to remain unknown, so he later received 
the title “Unknown Donor.’ 

The proposition was accepted by the Board and later by 
the Association, and was issued in a circular of which a copy 
is printed below. 


‘*‘ENDOWMENT FUND 
‘*To THE FRIENDS OF THE PHILADELPHIA ORCHESTRA: 


‘A friend of the Philadelphia Orchestra Association, who desires 
to remain unknown, has offered to meet any deficit of the Orchestra 
for each of five years, beginning with the season of 1916-1917. 

‘The conditions under which this gift will become available are 
as follows: 


‘““y. That an Endowment Fund of $100,000 yearly for five years 
shall be created by the Orchestra Association, so that the total Fund 
may be $500,000 at the end of this period. 


“2, That the contract of the present conductor, Leopold Stokowski, 
shall be extended to cover this period of five years. 


“3. It is earnestly desired that each friend of the Philadelphia 
Orchestra will pledge a generous amount in order to create this En- 
dowment Fund. eine all subscriptions to the Philadelphia 
Orchestra have been spent year by year, to meet the annual deficit. 
Under this offer the money now contributed will not be so spent, but 
will be invested to insure the permanency of the Orchestra as an insti- 
tution of Philadelphia. 

‘The Orchestra is a civic asset. If it is to fulfill its destiny and place 
Philadelphia in the front rank among the musical cities of the world, 
it must be endowed. In order to do this, the Orchestra Association 


[113 | 


must depend upon the generosity of its friends. We ask that the en- 
closed blank be signed and returned to us at your earliest opportunity. 
While it is hoped that all gifts may be for a period of five years, yearly 
contributions will be gratefully accepted. Payment of subscriptions 
will be on November ist and March ist of each year, beginning with 
November, 1916. 
““ALEXANDER VAN RENSSELAER 
Frances A. WisTER 
Epwarp W. Box 


Endowment Committee’ 


The way out was found—at least the beginning of the 
solution was in sight. 

The proposal was widely circulated and everybody con- 
nected with the Association began to work to raise the 
amount, which was to reach $500,000 in five years. This 
was later extended to seven years and now bears the name of 
‘Seven Year Endowment Fund.’’ All persons connected with 
the Association threw themselves enthusiastically into the 
work of fulfilling the agreement with the Unknown Donor. 

A meeting wascalled of the four Women’s Committees and 
their Auxiliaries, at the auditorium of the Curtis Building 
through the courtesy of Mr. Bok; the plans were explained 
and met with a vigorous response. The women were to raise 
money in two ways. One was to procure five-year subscrip- 
tions of large sums. The other was to secure small subscrip- 
tions by the Group Plan. This idea was suggested because 
the business management could not arrange to take care of 
sums of less than $25.00. The accumulation of such, there- 
fore, was undertaken by the women, with Mrs. Arnett as 
Chairman. This piece of work was as trying as any ever 
entered upon, on account of the detail of keeping small ac- 
counts yearly for so long a period. 

A group might include any number of persons but the 
minimum amount for each group could not be less than 
$25.00 yearly, for five years. The sum of $14,632.00 was 
raised by seventy-nine Groups, including two Junior Groups; 
but the most important feature of the plan was that it secured 
the interest of a number of hundred people who would 
otherwise have been deprived of the pleasure of assisting 
this cause. This was of infinite value to the Association. To 
Group Captains, who kept up their quotas of $25.00 yearly 
for five years, the orchestra owes much, for members often 
had to be replaced. The Women’s Committees have long 


[114] 


acted on the principal that the active interest of many peo- 
ple was a necessity in building up an orchestra, and never 
was their belief more justified than at that time. 

The work of the women was prosecuted with enthusiasm 
and the response was remarkable, not only from Philadel- 
phia, but from Pennsylvania towns as far west as Harris- 
burg and in New Jersey as far south as Atlantic City. 

Other ways of raising money wete resorted to, such as 
chains of card parties, inaugurated by Mrs. John B. Thayer, 
Jr., whose own chain amounted to $2870, and various enter- 
tainments and concerts given by young people. These were 
necessarily gifts for one year and could not be included in 
the required $100,000. 

The amount including large subscriptions and groups col- 
lected by the four Women’s Committees was a total for 
five years of $186,000, this being twenty-five per cent of 
the Fund. 

In November, 1916, it was announced that the amount 
guaranteed for five years was over $500,000, more than 
stipulated under the contract with the Unknown Donor. It 
was then decided to ask the contributors to extend their 
yearly subscriptions two years longer, and many responded 
heartily. The name was changed to Seven Year Endowment 
Fund, and in 1923, the total had reached $788,400. About 
twelve hundred individuals contributed at this time, and 
through the groups over five hundred more: 

The “‘Unknown Donor”’ disclosed himself in 1920, and 
proved to be Mr. Edward W. Bok. The satisfaction was 
great of knowing at last the name of this generous friend of 
music, who had enabled the Philadelphia Orchestra to place 
itself on a firm foundation. 


bay 


CHapter III 
THE OrcHEstrA DurRING THE WorRLD WAR 


One year after the offer of the Unknown Donor had been 
accepted by the Board of Directors, the United States was 
in a state of war. The condition of Europe during the past 
three years had ina way been disturbing in orchestral circles, 
because no men could leave Europe and players were scarce. 
Also, foreign men were called home, leaving vacancies that 
were difficult to fill. Still, the orchestra had flourished and 
continued to advance artistically under Mr. Stokowski’s 
guiding hand. 

In April, 1917, however, musical organizations in America 
were facing a different and a serious situation. In everybody’s 
mind the questions lingered and would not be put away: 
‘How is the Philadelphia Orchestra going to survive a 
war?’ ‘Will there be any players, and will there be any 
money for music?’’ Philadelphians spoke not these words 
aloud, but they feared for the existence of the city’s most 
beloved art organization. 

In December, 1917, the four Women’s Committees were 
desirous of making a patriotic demonstration with the 
orchestra, and at the suggestion of Mrs. J. Sellers Bancroft, 
an American flag was presented at each of a pair of concerts. 


“PRESENTATION OF FLAG 
To the Philadelphia Orchestra Association by the Women’s 
Committees for the Philadelphia Orchestra 
Presentation of Flag 
Miss Frances A. WisTEerR, President 
The Women’s Committees for The Philadelphia Orchestra 
The audience is requested to join in singing the National Anthem: 
The Star Spangled Banner 
(x verse) 
Acceptance of flag for The Philadelphia Orchestra Association: 
Mr. ALEXANDER VAN RENSSELAER, President 
The Philadelphia Orchestra Association 
Acceptance of Flag on behalf of the Orchestra: 
Mr. Leorotp Stoxowsk1, Conductor 
The audience is requested to join in singing ‘America’ 
(2 verses) 


[ 116 | 


Ledger, December 231d, 1917: 


“Viewed in the light of all that has been written, said and done 
regarding the relation of the musical art and its interpreters to the 
war and the conception of the majority as to what constitutes patrio- 
tism, the public action of the Women’s Committee of the Philadelphia 
Orchestra last week, on December 14th and 15th, when their presi- 
dent, Miss Frances Wister, introduced by Alexander Van Rensselaer, 
president of the Philadelphia Orchestra Association, presented the 
orchestra with a flag which was accepted by Leopold Stokowski, 
seemed full of deepest significance. In presenting the flag, Miss Wister 
made a graceful little speech about the relation of patriotism and art 
and said, among other things: 

‘““ "In order to express our loyalty to our country’s cause and to 
the Association which we have fostered so long, and to testify to our 
belief in the necessity for music as a mighty inspiration, a profound 
solace during times of stress, we take pleasure in presenting to the 
Philadelphia Orchestra Association and to the Orchestra a flag. 

‘““ “This is the visible demonstration of the patriotism of this 
organization and of the Women’s Committees during our period of 
national peril.’ 

“Both Mr. Van Rensselaer and Mr. Stokowski spoke words of 
appreciation of the Women’s Committees’ offering. The former read 
the resolutions adopted by the Association, and the most popular of 
musical leaders, Mr. Stokowski, on behalf of the orchestra announced 
that he and the men meant to give their services in a concert for the 
benefit of the American Red Cross, which statement naturally was 
greeted with responsive applause by the huge audience. 

‘The remarks by which Mr. Stokowski declared the Orchestra's 
loyalty to the United States were gracefully made, and his action 
necessarily was profoundly appreciated by his many friends and 
admirers whose numbers have already increased accordingly. 

‘The ceremonies closed with two verses of ‘America’ in which 
everyone joined heartily. The effect was thrilling. Many eyes were 
moist and many hearts were moved. 

‘““These are trying times that test men’s souls and it does not take 
much to force to the surface deep, pent-up emotions that long training 

' had suppressed.”’ 


* * * #K * 


At a special meeting of Board of Directors, December 
13th, er the following Resolution was unanimously 
adopted: 


‘‘Wuereas the Women’s Committees for the Philadelphia Orchestra 
are presenting to the Philadelphia Orchestra Association and the 
Philadelphia Orchestra two American flags as an expression of the 
patriotic spirit animating their organization of two thousand 
women, 

‘Bg Ir Rusotvep by the Board of Directors of the Philadelphia 
Orchestra Association in behalf of the fifteen hundred contributing 


[ 117 ] 


members of the Association, that these flags be accepted in the spirit 
with which they are given, with the thanks of the Association, and 
that the management be instructed to display them on the stage of 
the Academy at each concert given by the Orchestra. 

‘Be Ir Furtuer Resotvep by the Board of Directors, that it 
pledges the loyalty of the Association to the Government and people 
of the United States in this crisis in the affairs of the nation, and offers 
its services to be made use of in any way in which the Government of 
the United States may deem wise.”’ 


The next patriotic demonstration was the concert at 
Camp Dix, N. J. 


Public Ledger, January 3rd, 1918: 
‘ORCHESTRA PLAYS FOR CAMP DIX MEN 


100 MusIc1ANS UNDER LEOPOLD STOKOWSKI 
ENTERTAIN 3000 SOLDIERS 


‘The Philadelphia Orchestra, led by Leopold Stokowski, aroused 
more than 3000 khaki-clad men here in the big Y. M. C. A. audito- 
rium to outbursts of enthusiastic applause, when they concluded an 
entire Tschaikowsky programme, including the Symphony Pathé- 
tique, the famous ‘Nutcracker’ Suite, and the stirring overture 
Solennelle. The concert was made possible through the courtesy of 
the Philadelphia Orchestra Association. 

‘The large auditorium was crowded to the doors with the privates 
in training for the National Army, while the officers occupied a 
square patch of seats in the center. Alexander Van Rensselaer, Presi- 
dent of the Orchestra Association, and Edward Bok and Charles D. 
Hart, directors, were among the officials who accompanied the 
orchestra. With the party also was Noah Swayne of the Orpheus 
Club. The party arrived in Camp on a special train, and the musicians 
were escorted to the Y. M. C. A. hostess house and served a luncheon 
by society girls. 

‘Mr. Van Rensselaer, Mr. Bok, Mr. Stokowski and Mr. Swayne 
were entertained at the division headquarters mess. 

“When Mr. Stokowski took his place at the stage, he was given an 
ovation, and throughout the four movements of the symphony, the 
men watched the discipline of the players with an interested eye. 

“The contrast of the dark evening suits of the orchestra with the 
mud-stained puttees and brown uniforms of the thousands of enlisted 
men formed a novel sight. One officer was overheard saying to another: 

‘’ ‘How would you like to be captain of those collective artistic 
temperaments?’ 

‘After the first movement of the symphony was ended in a crash 
of tympani, the same officer said: 

““ “Well, if we can train a million men of the National Army to 
such precision and such discipline as that, we will have no trouble 
in beating the Huns.’ 

‘During the intermission, the entire audience did a sort of ‘eyes 
right’ when a group picture of the concert was taken.”’ 


[ 118 ] 


Besides this concert, men in the service stationed at 
Philadelphia were given many opportunities to enjoy the 
orchestra. Beginning in November, 1917, subscribers were 
requested through a notice in the programme to send tickets 
that they could not use to the manager, to be placed at the 
disposal of soldiers and sailors and it was a common sight 
to see men in uniform at the Saturday evening concerts. 

On January 23rd the promised Red Cross Concert was 
given at the Metropolitan Opera House before a large audi- 
ence. The affair was most successful financially, the amount 
turned over being $7045.00. 


Liserty Loans 


The subject of Liberty Loans was more and more occupy- 
ing the public mind and soon claimed the attention of 
musicians. 

The first booth during the Third Liberty Loan of May, 
1918, was in front of 1427 Chestnut Street, and was pre- 
sided over by Mr. and Mrs. Stokowski on two Saturday 
mornings. A quartet of trombones from the orchestra offered 
their services at the booth and attracted large crowds. The 
result of these two mornings was $114,000. 

During the next loan, the Fourth, the booth, which was 
a shell dug-out in front of the Union League, was in charge 
of the four Women’s Committees. For the first time in 
their existence the Committees diverted their minds from 
the orchestra for a brief space to participate in a patriotic 
act. This loan occurred at the time of the influenza epidemic 
and the women who served did so at some risk. No mem- 
ber, however, contracted the disease, or was the worse for 
the experience. 

The booth was open for two weeks only, but with the 
assistance of members of the orchestra, the amount collected 
was $896,000. 

When the Victory Loan was announced for May, 1919, 
the Women’s Committees were asked to again take charge 
of a booth for three weeks at the same place. Miss Frances 
A. Wister acted as Chairman for the second time, and they 
were assisted by a Committee of Musicians from the orches- 
tra, when their engagements permitted; and a Committee 
from the Business Management. Seventy-six members of 
the Women’s Committees served during the Loan, as fol- 


[119 | 


lows: Women’s Committee 27; Germantown and Chestnut 
Hill, 13; West Philadelphia, 22; Media, Chester and West 
Chester, 14. The total number of subscriptions received 
was 825, amounting to $691,300. 

This, added to the total of $896,000 for the Fourth Loan 
and that of $114,000 at the Third Loan, made a grand total 
of $1,701,300. 

Music at the booth was furnished without expense by 
members of the Philadelphia Orchestra, and ten other well- 
known artists, including Mr. David Bispham. Mr. Albert 
N. Hoxie gave a patriotic demonstration one day, with a 
parade and a chorus of one thousand, and the First Regiment 
Marine Corps Band. 


THE TRIBUTE TREES 


Another patriotic enterprise in which the Board of Direc- 
tors and the Women’s Committees took part was the plant- 
ing of tribute trees in honor of men in the service, on Fair- 
mount Parkway, at the invitation of the Civic Club of Phila- 
delphia. Fifty-five trees were planted on the Parkway at 
Twenty-second Street, and the Board and the Committees 
were represented at the ceremonies on April 25th, 1919. 

The Association did all in its power to assist in war time. 
Nearly $300,000 of the Endowment Fund was invested in 
Liberty Loans. On account of railroad congestion traveling 
was largely eliminated, but this was the only American 
orchestra permitted to cross the Canadian border, which 
journey was made for the Toronto Festival. 

The audience was not allowed to forget the nation’s situa- 
tion, as Mr. Stokowski had at the first concert of the season 
inaugurated the ceremony of playing the Star Spangled Ban- 
ner, orchestrated by himself, at the beginning of every con- 
cert, while the house stood. Later he organized and led a 
band of nearly two hundred pieces at Franklin Field, when 
funds were being raised for a special War Chest, and he did 
the same for the Service Star parade. 

Fight of the musicians went into the service. 

To mark the signing of the Armistice, special ceremonies 
were held at the concert of November 15th, 1918. Repre- 
sentatives of the Allied Nations appeared on the stage with 
their flags while their national anthems were played. The 
audience stood during the playing of MacDowell’s “‘Dirge,”’ 


[ 120 ] 


from the Indian Suite, which was played in memory of those 
Americans who had died in the war. 

When Philadelphia realized that the orchestra had sur- 
vived in its full strength and with little curtailment of its 
schedule, except for out-of-town concerts, and the post- 
ponement of two pairs of Philadelphia concerts on account 
of the epidemic, there was a sigh of gratitude. After 
such labors to procure an orchestra for Philadelphia, 
its abandonment would have been a tragedy and a calamity. 


[prain | 


CHAPTER IV 


THE TWENTIETH ANNIVERSARY 
Mirtytion Dottar ENDOWMENT FunpD, 1919 


During the war the Seven-Year Endowment Fund continued 
to be paid in showing that Philadelphians were learning to 
Pa what they had. But the Board of Directors was now 
aced with another problem, the fact that the increased cost 
of everything in life made it evident that even the Seven 
Year Fund was going to be insufficient to meet the yearly 
deficit. Mr. Edward W. Bok then suggested that the Asso- 
ciation should conduct a campaign to raise $1,000,000 dur- 
ing the month of October, 1919, in honor of the twentieth 
season of the Philadelphia Orchestra. This was in January, 
1919, and after the Board of Directors had decided to take 
this bold step, a Campaign Committee was appointed by 
Mr. Van Rensselaer, of which Mr. Bok was made chairman, 
in such fashion do one’s sins return to one. 

This Committee met at intervals during the winter, and 
Mr. Bok, fertile in ideas, formulated his plan of action. This 
was to have a Committee of Fifty Campaign Chairmen, men 
and women, each of whom should raise $20,000. Luncheons 
were to be held twice each week during the month at which 
reports were to be made. Chairmen having less than $2000 
were obliged to announce “‘No report.”’ 

A circular was widely distributed in order to inform the 
public of the plans of the Association. 


“THE PHILADELPHIA ORCHESTRA 
ENDOWMENT CAMPAIGN 


‘The next season of the Philadelphia Orchestra marks the Twentieth 
Anniversary. To mark this event, the people of Philadelphia will be 
asked to complete the Endowment Fund beet in 1915, which was 
interrupted by the war. For nineteen years, a group of Philadelphia 
men and women have sustained the annual deficit of the Orchestra. 
This group has maintained the Orchestra until it reached its present 
unquestioned position as the leading symphony orchestra in the 
United States. The Association now feels that the Philadelphia public 
should place the Orchestra, once for all, on a permanent financial 
basis. This can be done by completing the Endowment Fund.”’ 


Bova) 


‘THe ENDOWMENT FunNpD 4s 1T STANDS 


‘The present Endowment Fund consists of $500,000. In addition 
to this, there are pledges not yet matured which will bring the 
amount, within two years, to $800,000. Carefully invested, this total 
fund will insure the Orchestra a net income of approximately $36,000 
a year. This is not sufficient to carry the annual deficit. 


‘*THe OrcHEstrA’Ss ANNUAL DEFICIT 


The cost of the Orchestra per season is....... $304,000 
The income jae SOANOMDIIS OMe sitar ate. cia pani ey 238,000 
feast year s detict was, therefore. ............ 66,000 


“With increasing costs, the estimated deficit for future years will 
be $80,000. 


‘WHAT THE COMPLETE ENDOWMENT FunND WiLL MEAN 


“To the present Endowment Fund, therefore, must be added ONE 
Mition Do.iars. This would mean an estimated income of $81,000, 
on a total fund of $1,800,000. 

“It is this additional 


One Million Dollars 


that it is now proposed to ask the Philadelphia public to subscribe. 

“It should be borne in mind that not a penny of this amount is 
spent; all is permanently invested, and only the interest therefrom is 
used to maintain the Orchestra. 


‘*‘WHERE THE Money GOES 


93 cents out of every dollar of income is spent on the Orchestra; 
put back into the Orchestra, in other words, in order to increase its 
efficiency: 


oeé 


peiatienror Orchestra members... .. 25.05... 55-61% 
Expense of rentals, etc., of concerts at Philadel- 
Ila ge dGut-Of-tOWns.. 02.6. ie ee 34.61% 
Miscellaneous expenses (Orchestra music, insur- 
MRM he 550k Sn ale oh og ee heen 2.78% 
PSUITIEISELACLOIL CX PCUSCS, 2.0.5. o/s ace ose dy cleats 7.00% 


‘*Tur SMALLNESS OF THE OrcHESTRA DEFICIT 


‘The annual deficit of the Philadelphia Orchestra of $66,000 is one 
of the smallest of any of the large symphony orchestras of the United 
States. These deficits average from $85,000 to $125,000 per year. And 
yet, with one exception, the Philadelphia Orchestra is the largest 
symphony orchestra in number of musicians, in the United States, and 
plays a longer season. 


‘*THe DETAILS OF THE CAMPAIGN TO RAISE 
One MiIxLiti0on DoLuars 
“It will begin October 1st, 1919, and continue throughout the 
month. 
‘*The amount to be raised 1s One Million Dollars. 


pi23% 


“There will be 50 Committees, each Committee to raise a minimum 
of $20,000. 

“These 50 Committees will be under the general chairmanship of 
Dr. Charles D. Hart. 

‘The headquarters will be, during October, at the Hotel Ritz- 
Carlton, Broad and Walnut Streets. 

‘The territory for the campaign will include the counties of Phila- 
delphia, Montgomery, Delaware, Chester and Bucks. 

“Pledges will be payable in cash (much preferred) or 50% payable 
January 1, 1920, ee 50% payable May 1st, 1920. 

‘The Depository for the Fund will be Messrs. Drexel & Company, 
to whom all checks should be drawn. 

“All pledges should be delivered to Dr. Charles D. Hart, or Miss 
Frances A. Wister, at the Ritz-Carlton Headquarters. 


‘*THE ENDOWMENT CAMPAIGN COMMITTEE 


Epwarp W. Box, Chairman } 


Joun F. Braun’ Dr. CoartesD. Hart Mauss Frances A. WIsTER 
SAMUEL S. Fets ErrinGHaM B. Morris CHARLTON YARNALL 
ALEXANDER VAN RENSSELAER 


General Chairman of Committees 
Dr. Cuartszs D. Hart”’ 


Mr. Joseph E. Widener provided the Campaign Head- 
quarters in the Ritz-Carlton Hotel where an office force was 
installed and the bi-weekly luncheons held. 

Dr. Hart worked hard to procure the fifty Chairmen and 
fifty-three people consented to serve, but some dropped by 
the wayside. At the opening campaign luncheon, on Sep- 
tember 29th, 1919, there were in actual service only forty- 
two. As was to be expected, some collected more than their 
quotas and some less. Women chairmen predominated, there 
being twenty-eight of these to fourteen men. Their names 
should be recorded. 

CHAIRMEN 

Messrs. Edward W. Bok, John F. Braun, Charles D. Hart, 
Henry McKean Ingersoll, Alexander Van Rensselaer and 
Andrew Wheeler of the Board of Directors; and from out- 
side, Messrs. Henry G. Brengle, W. W. Fry, J. B. Henkels, 
Jr., George I. Bodine, G. H. Lang, Maurice Speiser, Herbert 
J. Tily and Wm. Jay Turner. 


WoMEN CHAIRMEN 


Mrs. Alfred Reginald Allen, Mrs. Wm. W. Arnett, Mrs. 
Thomas G. Ashton, Mrs. Charles Carver, Mrs. Herbert L. 


[124 ] 


Clark, Mrs. Matthew H. Cryer, Mrs. Joseph M. Gazzam, 
Mrs. Charles W. Henry, Mrs. Henry S. Jeanes, Miss Lea, 
Mrs. Joseph Leidy, Mrs. Wm. S. Newcomet, Mrs. Thomas 
Robins, Countess of Santa Eulalia, Mrs. Wm. A. Slaughter, 
Mrs. John B. Thayer, 3rd., Mrs. L. Howard Weatherly, 
Miss F. A.'Wister, Mrs. Harold E. Yarnall and' Mrs. Camille 
Zeckwer, all members of the Women’s Committees. 

In addition to these women, able assistance was given 
by Mrs A. J. Dallas Dixon, Mrs. L. Chandler Williams, 
and six women who had not up to this time been connected 
with the Philadelphia Orchestra, except as enthusiastic 
patrons. These were Mrs. Frederic W. Abbott, in charge 
of the Matinee Musicale Club Committee, Mrs. Frank T. 
Griswold, Mrs. Joseph N. Snellenburg, Mrs. John B. 
Thayer, Mrs. J. William White, and the Motor Messenger 
Service under Mrs. Thomas L. Elwyn. 

The Germantown and Chestnut Hill and the Media, 
Chester and West Chester Committees acted under their 
own presidents. The work of this committee under Mrs. 
Cryer and that of Mrs. Wm. A. Slaughter in West Jersey 
deserve special mention on account of the distances covered. 


SYNOPSIS OF THE RESULTS: 
Twenty members of the four Women’s Com- 


Mattes asindividual chaitmen,........... $396,292.36 
Women Chairmen outside of Women’s Com- 

OSS © 7) SIS ge ee 191,832.55 

formiaorac women'Ghaitmen. 220. ..7... $588,124.91 


This was 53% of the Fund, but the women Chairmen 
were two to one against the men. 

Besides the collections made by the Committee of Fifty, 
amounts came in from other sources, such as, members of 
the Philadelphia Orchestra Chorus, the Van Rensselaer 
Tribute, the two Wister Tributes, the Van Rensselaer-Bok 
Telegram to business firms, the Telephone Circular, the 
Main Line Bonds, other Liberty Bonds, contributions re- 
ceived at the office, etc. 

A unique feature of the campaign was the memorials and 
tributes which gave people an opportunity to place the 
names of family or friends on special tablets to be placed in 
the Academy of Music. No less than $1000 was accepted for 
each memorial. 


[125 | 


MEMORIALS AND TRIBUTES 


in 
THe PHILADELPHIA OrcHESTRA ENDOWMENT FUND 


rae 


MEMORIALS TO THE FALLEN IN THE WoRLD War 
Major ALFreD REGINALD ALLEN, U.S. A. 
Tue AMERICAN HEROES IN THE GREAT WAR, 
UNKNOWN AND UNsuNG 

LizuTENANT Mortimer P. Crane, B. A. 
LIEUTENANT WILLIAM Bou.ton Dixon, U. S. A. 
EnsiGn GeorGE B. Evans, Jr., U.S. N. Air Service 
LIEUTENANT Rosert H. Gama zg, U. S. A. 
LizUTENANT WILLIAM B. Kuenn, U. S. A. 
LIEUTENANT Pau Borba Kuriz, U. S. A. 

_ Rarrex Lesxtre Metvitte, B. A. 
Mayor Tatsot Mercer Papineau, M. C. 
Corporal ABRAM K. Street, U. S. A. 
LIEUTENANT ARTHUR RICHMOND Taper, U. S. A. 
MEMBERS OF STRAWBRIDGE & CLOTHIER CHORUS 
ArtTHUR Howe. Witson, U. S. A. 
TWELVE PHILADELPHIA Boy Scout HEROES 


TRIBUTES OF THANKSGIVING 
for the safe return of 


LIEUTENANT WILLIAM Curtis Box, U.S. N. 
HaMILTON DisstoNn CARPENTER, U. S. A. 
LIEUTENANT LEONARD E. PowkLu 
LIEUTENANT SYDNEY Tuayer, Jr., U.S. M. C. 
LIEUTENANT GEorGE Bower, U. S. M. C. 
JOHN FREDERICK SIEBERLING, U. S. A. 
Harowp Francis Weston, B. A. 


PErRsONAL MEMORIALS AND APPRECIATIONS 
In Memory of 


JOSEPHINE L. S. Apams G. Martin Britt 
BLANCHE BALDWIN Ricuarp Vaux BuCcKLEY 
Beutau Hecker BANCROFT WILLIAM BuRNHAM 
GEORGE BARRIE Lois BucHANAN CASSATT 
Maupbe Ecxert BENSON  ° WILLIAM T. CARTER 
RupoipeH BLANKENBURG FREDERICK TAYLOR CHANDLER 
JoszpH B. BLoopGoop Mrs. Anna L. ComsGys 
Mary Frances BLoopGoop “Ricoarp Y. Coox > 

SIEKE GERTRUDE Box Hucu Craie, Jr. 
EvizaBETH S. BRAUN MicHaeEt H. Cross 

Louis Brécy > CHARLES Howrz CuMMINGS 
ARTHUR Brock Harry K. CummMincs 
Crartis Hatt Brock Louise Knapp Curtis 


[ 126 | 


ur BHILADELPHIA @RCHESTRA 


ENDOWMENT FUND CAMPAIGN 


Hes 2) aS) 
oN 
MEMORIAES TO THE FALLEN 
iN. THE GREAT. WAR 
MAIOR ALERED -REGINALDOALLEN UL. 
WIELIPENANT MORTIMER RO CKANE. B.A 
MEL PENANT WILLIAM BOULTON DIXON, G.5..% 
PENSE GEORGE 8 EVANS: JR. AL SUN. AIR SERVICE 
UELTENANT ROBERT H GAMBLE. US. A 
UELTENANT. PAUL BORDA KURTZ. tS A 
RALPH LESUR MELVILLE: BoA: 

MAJOR TALBOT MERCER PAPINEALL M,C 
LIEUTENANT ARTHUR RICHMOND TABER, U.S. A 
ARTHUR HOWELL WILSON, US. A 
VEMBERS OP STRAWBRIDGE AND. CLOTHIER CHORUS 
UEUTENANT WILLIAM Bo KUEN U.S. A 
CORPORAL ABRAM K. STREET. USA 
PHILADELPHIA. BOY SCOUTS WHO FELL iN THE WAR 
-MESAMERICAN HEROES IN THE GREAT: WAR 
WHO-ARE UNKNOWN AND. UNSUNG 


TRIBUTES OF THANKSGIVING 
FOR THE SAFE RETURN OF 
HEOTIUSAN TE VILTIAM CURTIS BOX USN 
MEMTTENANT GEORGE BOWER: Us M€ 


fue 


HAMILFON -fsstON CARPENTER. Us. A 


DIRUTENAN LEONARD £ POWELL: US. 1D Cc 
OHM FREDERICK SIEBERLING uU Boh 

PA “CONANT SYDNEY THAYER. JR. s Moc 

HAROLD FR ANGIS WESTON B A em 





ENDOWMENT FUND MEMORIAL TABLET 


Ay 





Epwarp Tonkin Dossins 
FRANKLIN DUANE 

GzorGE W. ELxins 

Apam H. Fetrerotr, LL. D. 
Srmon B. FLEIsHER 

Rospert H. ForrpgErRER 
Rev. Freperic GARDINER 
Dr. W. W. GitcuHrist 
ANNE STARR GRISCOM 
Harry B. Hay 

Joun Witit14AM HaLiaHANn, 3RD 
GrorceE W. Harrau 
THOMAZINHA E. Harrau 
Maria Amgs Harte 

SarAH Kent How 

Max LivinGsTton 

Harriet ANNE Lucas 
Maser ELeEANorR McCanan 
Joun R. McDoweELu 
Henry J. Maris 

Dr. Cuarvtes Mone 

JoHN Paut Morris 

Joun THompson Morris 
Haran Pace 

RreEHLE MemoriaAL Funp 
Heten HamItton Rosins 
THEODORE ROOSEVELT 


RicHarD RossMASSLER 
EpwarbD CoLiin RossMASSLER 
Joun C. SCHAEFER 
Fritz SCHEEL 
Mrs. Francis SCHROEDER 
Mrs. WiLx1AM SIMPSON, JR. 
Henry M. Steet 
Joun M. StTEFFAN 
Joxun B. STEtTson 
Dr. Revert STEWART 
WittraM STOLL, JR. 
Roxranp Leste Taytor, Jr. 
ARCHIBALD GRAHAM THOMSON 
FraNK THOMSON 
JAMeEs TiLy 
S. Letitia Tity 
Epwarp K, Tryon, Jr. 
Auice Doucias TURNER 
IsaBEL G. WALKER 
FREDERICK WEBER 

. Witt1am Waite, M. D. 

LEANOR MERCER VANDERBILT 
WILLIAM F. VacHE 
Mary CHANNING WISTER 
WILLIAM BREwsTER Woop 
Haroup Extuis YARNALL 


In APPRECIATION OF 


Epwarp W. Box ALEXANDER VAN RENSSELAER 
LEopoip SToKOWwsKI Frances ANNE WISTER 
OutGa STOKOWSKI 


Miss Wister’s name was placed on the tablet by the con- 
tribution of two large amounts, one from the Women’s 
Committee and one from the Auxiliary. 

The tablets beautifully designed by Mr. Paul Cret, the 
noted architect, are placed on each side of the entrance to 
the inner lobby. 

The delightful luncheons held bi-weekly instilled in the 
workers much enthusiasm and were attended by from 300 
to 400 people each time. At these the following well-known 
public and private individuals and artists appeared, all giv- 
ing freely of their time and often of their money to help the 
great cause: 

Miss Margaret Anglin, Mr. David Bispham, Mrs. A. J. 
Cassatt, Mrs. Edward H. Coates, Mr. Cyrus H. K. Curtis, 
Mr. Walter Damrosch, Mrs. Minnie Maddern Fiske, Sir 


[127] 


Johnston Forbes-Robertson, Mr. Walter Hampden, Dr. John 
Grier Hibben, Mr. Josef Hofmann, Miss Estelle Hughes 
CWinner of Stokowski Medal), Mr. Sascha Jacobinoff, Mr. 
Otto H. Kahn, Mr. Hans Kindler, Rabbi Krauskopf, Mme. 
Matzenauer, Miss Violet Oakley, Judge Patterson, Bishop 
Rhinelander, Dr. Thaddeus Rich, Mme. Samaroff, Mr. 
Oscar Schwar and a group of men from the orchestra. 

The thrill of these occasions will never be forgotten by 
the campaigners. Only those who participated can have any 
idea of the enthusiasm and excitement prevailing among the 
workers who eagerly awaited the reports. After speeches 
and music of a very delightful nature, the chairmen were 
called by name and saw their totals written ona large black- 
board. Many of them went to bed the night before with 
nothing in their pockets and arrived at headquarters in the 
morning to find their able assistants had brought in the 
required two thousand and more. It is marvellous that Mr. 
Bok could, besides running a campaign, manage such bril- 
liant affairs as these were, twice.each week. It was no un- 
usual sight to see four hundred men and women come in 
exhausted and discouraged, and go forth with renewed 
vigor to beg money. The spirit of excitement ran through it 
all, for raising money is as uncertain as gambling in that the 
pursuer never knows when he accosts a victim what the out- 
come will be, large, small, or nothing, and many surprises 
wete experienced. The competition was great, for Mr. Bok 
had offered $1,000 each to the first ten committees to raise 
their quotas. 

The Officers and Directors and the members of the Wo- 
men’s Committees and their Auxiliaries swarmed at the 
Ritz. Over it all was the influence of Mr. Van Rensselaer, 
with a courteous and cheerful word for all the harassed. 


Philadelphia Press, September 28th, 1919: 


‘*400 ENLISTED FOR CAMPAIGN TO SAVE PHILADELPHIA ORCHESTRA. 
VOLUNTEER WORKERS WILL RECEIVE FINAL INSTRUCTIONS AT 
Ritz-caARLTON LuNCHEON TOMORROW 
$1,000,000 FuND THE GoAL 
FarturE MAY MEAN Loss To City oF Asset oF INCALCULABLE VALUE 
‘“Musical Philadelphia is watching with a great deal of interest and 


anxiety, the movement on foot to ‘make the Philadelphia Orchestra 
safe for Philadelphia’ by raising the endowment of $1,000,000, for 


[ 128 ] 


a es ain a 
THE AHILADELPHIA 
‘ENDOWMENT FUND CAMPAIGN 





@RcHestra 


LQ YG 


ess 


IN MEMORY OF 


JOSEPHINE LS ADAMS 
BLANCHE GALUWIN 
BEVLAE HACKER BANCROFT 
GEORGE HARRIE 

MAGI FCKERT HENSON 
RUDOLPH BLANK ENBURC 
JOSEPH & BEAODOOOD 
MARY FRANCES BLOODGOOD 
SIEKE CERTRUDE BOK 
FLIZABETHES BRAUN 

LOUIS KKEOY 


oC. MARIN: BRL 


ARFHUR BROCK 
CHARLES MALL WICK 
RICHARD VAUX BUCKLEY 
WILLIAM BUKNHAM 
WALLIAM “1 CARTER 

LORS BUCHANAN CASSATT 
FREDERICK YAYLOK CHANDLER 
MRS ANNA [ COMEGYS 
RICHARD ¥ COOK 

HUGH CRAIG. IK 

MICHAEL 1h CROSS 


_ GHNKLES HOWE CUMMINGS” 


HARRY K CUMMINGS 
LOUISE KNAPP CURTIS 
POWARLD TONKIN DOBRINS 
FRANKLIN DUANE 

GRORCE W CLKINS 

ADAM HO FETTERGLE LhOD 
SIMON HPPPISTIER - 
ROK 1 KORRODA DR" 
RLY. FREDERIC CARDINER 
PR AWW CILOTRIST 

ANNE STARR CRISCOM 
HARKY TB HALL 

<SN WILD LAM. HALL AHAN, 34 
CHORUP W HARRAL 
HOMAZINMA I HARRAH 


HAROLD ELLIS YARNALL 


IN APPRECIATION OF 


EDWARD W. BOK 


MAINA AMYS MART 

SAKA KEN} HOW 

MAX LIVINGSTON 

HARRIEP ANKE [CAS 
MABLL FLL ANCHO MUCAHAN 
FOUN KR. MopOWLL 

HENTEY f -WeAR IS 

OK CHARLES MOHR 

JOHNS YAUL MORRIS 

JOHAN THOMPSON: MORES: 
ARARE AN PAGE 
RIEHL MEMORIAL POUND 
HELL HAMHTON ROBINS 
THEODORE KOOSEVEL} 
EDWAREY COLLINS ROSSMASSERR 1 
RICHARD ROSSMASSR 

JOHN SC ATALAER, 

PRITY SCHR 

MRS FRANCES SCHROEDER 
MES WIELIAM SIMPSON. jit 
HENRY M. STREL 

JOUN MOSTELFAN 

JOHN. BR. STETSON 

DR. REVEL STAVART 

WILDIAM STOLL, fi 

ROLAND LESTE TAYLOR, if 
ARCHIBALD GRAHAM THOMSO) 
PRANK. (HOMSON : 
JAMES THY 

SUETITIA TUN 

FOWARD K, VRYON: }t 

ALICE DOUGLAS TURNER 
WILLIAM # VACHT 

PLEANOR MERCER VANDERBILE 
ISABEL CG WALKER 

FREDERICK WEBER 

}. WILLIAM. WHITE, M.D. 

MARY CHANNING. WISTER 
WILLIAM BREWSTER WOOD 


LEOPOLD STOKOWSKI " 
OLGA STOKOWSEI 
ALEXANDER VAN RENSSELAER 


FRANCES ANNE WISTER 

























RI Es 
TMT TERS EIT). 









de Solar NS pee 


























ENDOWMENT FUND MEMORIAL TABLET 

















- 


‘Te Gay 





otherwise, it has been announced that this organization must be 
seriously curtailed in its activities.’ 
x * * %& * 


‘Many cities sustaining an orchestra are greatly aided by the work 
and philanthropy of one or two men, but in the case of the Philadel- 
phia Orchestra, the burden of making up the yearly deficit is dis- 
tributed among a number of people. 

“The Committee of fifty Chairmen who will meet tomorrow at the 
‘get-together luncheon’ are each pledged to turn in for his Committee 
a sum of $20,000. Each Chairman has a group of co-workers, includ- 
ing prominent social and philanthropic leaders of this city. 


OrcHESTRA 'S VALUE TO CITY 


‘The campaign to save the Orchestra for Philadelphia has set loose 
a flood tide of arguments as to the value of this organization to the 
city’s life. To business-men the argument that the Philadelphia 
Orchestra is a great advertisement to the city will make the strongest 
appeal, while to the great number of people interested in the artistic 
life of the city the argument that its pre-eminent place in the world 
of music merits their greatest support will naturally serve to stir them 
to action. 

* %* %+*« %*€ = 

“The realization that the possession of an orchestra of high stand- 
ing is a great commercial as well as a great civic asset to a city, has 
caused a number of cities to build up an organization similar to the 
one Philadelphia already possesses.’ 


* * «K *«# #€ 


Ranxs With Wortxp’s BgEst 


“By a most consistent plan of development under the direction of 
Alexander Van Rensselaer, the Philadelphia Orchestra, now in its 
twentieth year, has earned the reputation of being ‘the first orchestra 
in America.’ No less a critic than H. T. Parker, of Boston, writing 
in the Boston Transcript says, ‘there can no longer be any doubt that 
the Philadelphia Orchestra is today the first of all American orches- 
tras. In fact, it may be said now to rank among the five great orches- 
tral organizations in the world.’ Mr. Ossip Gabrilowitsch, famous no 
less as a conductor than a pianist, says that ‘it is now a most impor- 
tant factor in the musical life of this country, and has set a standard 
of excellence which all other symphony orchestras in America, no 
matter how famous, must bear in mind, if they wish to maintain their 
places in the front rank.’ ’’ 

* * + * 

“Under Stokowski the Orchestra has made a rapid step forward. 
The first performance in America of the Mahler Symphony, using a 
chorus of over one thousand singers, made the whole country ‘sit up.’ "’ 

* kK # * 


‘“‘One element that the committee in charge of this endowment 
fund campaign must combat, is the confidence that the $1,000,000 can 


[ 129 |] 


be easily raised. This is unpsychological. This same notion has fre- 
quently spoiled some of the best organized campaigns for endowing 
other worthy institutions in this city.”’ 


The publicity for the campaign was brilliantly conceived 
and executed by Mr. Bok. 

In the spring ‘‘The Orchestra News’’ began to appear 
monthly, with the idea of making the story of the organi- 
zation much more widely known than it had heretofore 
been. Its pages were “‘instructive and entertaining’ as the 
expression was in old times. So were the various folders 
and leaflets sent out during the campaign itself. Persons of 
importance in the business world helped with the publicity 
as well as with large contributions. 


“THE ORCHESTRA NEWS 


‘*PUBLISHED Every ONCE IN A WHILE IN THE INTERESTS OF THE 
PHILADELPHIA ORCHESTRA AT THE 
PENNSYLVANIA BUILDING, PHILADELPHIA 


Way I Came To PHILADELPHIA 


‘“BecausE—America was fast becoming (and has since completely . 
become) the great music-making country of the world. 

‘‘BecausE—Fritz Scheel (with his instinct for choosing exactly the 
right artist for each position in the orchestra) had laid the foundation 
of a wonderful orchestra. Since then many fine artists have been added 
but the main structure of the Birds s remains as Scheel created it. 

‘‘BrecausE—I felt in Philadelphia the existence of a warm hearted 
and genuinely music-loving public which I believed would grow. 
This it has done amazingly in the last few years. 

“It is my ardent hope that this development will continue, and 
that we may soon welcome among us the great number of music- 
lovers in Philadelphia, who have not yet come to us. 


‘* LEOPOLD STOKOWSKI1’’ 
‘*To Tue Business MEN OF PHILADELPHIA 


“We are convinced that the Philadelphia Orchestra is entitled to 
the support of the business men of Philadelphia. The Orchestra is now 
the leading symphony orchestra in the United States, and has become 
a distinct civic asset of signal value to Philadelphia. The impression 
made by the Orchestra in the largest cities in America which it visits 
and where it plays before 100,000 persons during each season has been 
proven to be of the most pronounced advertising value to our city. 
To place this Orchestra on a permanent financial basis such as the 
Endowment Fund of One Million Dollars now asked will accomplish, 
is a distinct investment for the business interests of the city. To com- 
pel so valuable a municipal asset to be discontinued for lack of this 
fund cannot be considered. 


[ 130 | 


“We ask, therefore, that the business men of Philadelphia will join 
us in the support of the Orchestra in this campaign. 


““SAMUEL REA ““W. W. ATTERBURY 
ErrincuamM B. Morris E. Puszy PassMorE 
JoHN GrIBBEL Joun H. Mason 
SAMUEL T. BoDINE JAMEs Crospy Brown 
SAMUEL M. VaucLaIn SAMUEL S. FELs 
Cyrus H. K. Curtis Exuis A. GIMBEL 
Wiruiam A. Law WiiuiAM P. Gest’’ 


“WE Do It IN NEw Yorx 
By Orto H. Kaun 


‘‘A business man should realize that he makes a definite investment, 
yielding interest to him and to his city in civic and business advan- 
tage, when he supports a worthy art organization in his community. 

“In New York we have come more and more to realize the value, 
the merit and the obligation of such investments. 

“The Metropolitan Opera, for instance, and our several symphony 
concert organizations were started and have always been and are now 
being supported financially by business men. 

“These and similar art enterprises have become not only genuine 
assets in the lives of the people who support and patronize them, but 
distinct and profitable business assets to the city. 

“Of late, another organization, the Philadelphia Orchestra, has 
entered into friendly and successful rivalry with the old-established 
symphonic organizations of New York. 

“The public and press of New York are one in acknowledging 
gladly and cordially that. Philadelphia has now in its Orchestra, 
under its eminent leader, one of the greatest organizations of the kind 
in the United States, or, indeed, anywhere. 

‘Its visits to New York are welcomed and looked forward to. 

“It has taken an honored place in the musical life of New York. 

“In what it has achieved, it has served and proclaimed Philadelphia. 

“It carries the message of Philadelphia wherever it appears: a high 
and fine message of credit and renown to the city which gave it being 
and suppotts it. 

_ “The civic value and the business value of the investment which is 
represented by the Philadelphia Orchestra are definite and great. 

“The eminent position and conspicuous reputation which it has 
attained are assets of great price to its home city. 

‘The business men of Philadelphia should take pride in coming 
forward unhesitatingly and generously to the full support of the 
splendid musical organization which bears the name and enhances 
the fame of Philadelphia. UO He cece 


The newspaper publicity was very fine and the programme 
books were also pressed into service, to further the cam- 
paign. Mr. Bok’s and Mr. Stokowski’s clever appeals kept 


[ 131] 


the subject well in the minds of the audiences during that 
month by the following appeals: 


‘‘A PERSONAL [INVITATION 


““Much as we wou'd like to do so, we cannot naturally reach person- 
ally every resident of Philadelphia for their contribution to the 
Million Dollar Endowment Fund to save the Philadelphia Orchestra. 

‘In case we have not reached you, will you regard this as a per- 
sonal invitation to help in our efforts to save our beautiful Orchestra 
by filling in the blank below and mailing it to the address given? 

‘*Please remember that not a penny of your money will be spent: 
every dollar is carefully invested, and will work year in and year out, 
for all time, only the interest being used to pay the expenses of the 
Orchestra. Your subscription, therefore, is a legacy to yourself, your 
children, the Orchestra and the city. 


‘*THe PurtADELPHIA OrcHEsTRA ENDOWMENT CAMPAIGN COMMITTEE.” 





Programme, October 17th, 1919: 
‘‘A PERSONAL MerssAGE From Mr, STOKOWSKI 


‘We are facing two possibilities today: 

‘One: Shall we continue the Orchestra as it is? 

‘The other: Shall we reduce it? 

“Let me tell you exactly what these two things mean, so that we 
will know exactly what we are leading to. 


‘Suppose we reduce the orchestra: which we must do if we do not 
raise this Endowment Fund. That means that your first men in the 
orchestra, the chiefs of each section, would not remain, because there 
are orchestras being formed all over the country now, and these 
orchestras will naturally take away the splendid first men that we 
have in our Orchestra. 

“You would naturally have to replace those men with second-class 
men. You would have to do this because the relation of supply and 
demand of orchestral players is tremendously intense. There is far 
more demand than there is supply of really great players. Having 
second-class men in those positions—I must speak frankly to you 
now—you would have a second-class orchestra. 

“Now, whoever you have for conductor cannot possibly give you 
really first-quality results if he has a second-quality orchestra. That 
is impossible. ~ 

“then you could not allow such an orchestra to go outside of 
Philadelphia. You could not permit a second-class orchestra bearing 
the name of the city to travel to the West, to New York, Washington, | 
Baltimore, Pittsburgh, Toronto, and the various places where we 
play. It would be too much to our shame. We could not do it. So all 
the tours would have to be cut out. 

“In Philadelphia itself we should not be able to give concerts of 
the first quality, and you would naturally become dissatisfied. And 
after these second-rate concerts had gone on for one or two seasons, 
you would say to yourself, this must stop; we must have again an 


[ 132 ] 


orchestra like what we used to have; we must have a first-class orches- 
tra. You would begin all over again to rebuild your Orchestra once 
more, and do you realize how long it takes to build or rebuild an 
orchestra? 

“Do you realize that it took me personally all the seven years that 
I have been in Philadelphia to get three first-class artists for just one 
section of the Orchestra? And you have ninety-seven men in your 
Orchestra! That gives you just an idea of the work involved.”’ 

Stet i le Rc Se 

“Will Philadelphia give its Orchestra its needed fund, avoid the 
calamity I have tried to outline and let the Orchestra go on as it 1s, 
and as the generations go on, and we go from this life, we will have 
the feeling that its influence will go on; that it will accumulate tra- 
dition; that it will go on maturing; and that it will become more and 


more beautiful. ‘“LEOPOLD STOKOWSKI. 


“P.S. In the above I have tried to tell you what must happen if the 
Orchestra fails to secure the Endowment Fund for which it asks. 

“In the programme for next week’s concerts, I want to tell you 
what will happen if we do get the Fund; the plan that we have so long 
had in mind for the Orchestra and Philadelphia.”’ 


“To THE FRIENDS OF 
THE PHILADELPHIA ORCHESTRA 

“We have reason to believe that it is in the hearts of a number of the 
friends of the Philadelphia Orchestra to leave a legacy in their wills 
to the Orchestra. Appreciative as we are of this beautiful thought on 
the part of these friends, we hope we may not be misunderstood if we 
suggest the thought that were such legacies now given to the Endow- 
ment Fund when the Orchestra stands at the cross-roads of its career, 
and when the next fortnight must determine its continuance or its 
dissolution, the service rendered would be greater than may be pos- 
sible at any other period in its history. If ever the Orchestra has need 
of the kindliest thoughts of its friends it is at this time when the pres- 
tige of this superb organization may be maintained, its present excel- 
lence continued, and its strength conserved: when it is here to support 
and when the generosity of those who believe in it can save it and 
make it the permanent institution of Philadelphia that it deserves and 
should be.”’ 


Programme, October 24th-25th, 1919: 
“It is not a campaign-slogan: it is the truth when we say: 


SAVE THE ORCHESTRA 
“Tf the Endowment Fund fails, this will be the last season that the 
Orchestra can remain at its present strength of excellence. 
“Is that to be your gift to it on its twentieth birthday?’’ 


‘““Wuat Witt Happen Ir We Succeep 
By Lzeorotp StoxKowskI 
“In last week’s programme I tried to tell you how we would have to 
curtail the Philadelphia Orchestra, if we failed to get the Endow- 


[ 133 | 


ment Fund for which we are all striving; how we would have to let 
our best artists go; how we would, for very shame, stop traveling to 
other cities because we had a second-class orchestra. All this is 
absolute. 

‘‘Just as absolute, however, is the other side of the picture if Phila- 
delphia will give its Orchestra this fund. 

“We would naturally not only continue the Orchestra as it is, but 
we would go on developing it every season to a higher quality, for in 
art there is no end, since, as soon as you reach the horizon which you 
saw a year ago, new horizons appear and new fields of beauty. The 
end never comes, because you are never satisfied; that is the wonderful 
thing about art. 

“Let us in Philadelphia go forward; not backward! Let us carry 
this fund through. 


* * *C KK 


‘We are not asking for a fund that is raised and spent. Not a penny 
of the Million Dollars is to be spent; every dollar is to be invested and 
put away. Twenty, thirty, forty years from now it will still be there, 
always working, bearing interest. And only this interest is to be 
spent. 

‘Is this not a good investment for yourself, your children and your 
city? 

“Upon this twentieth anniversary I plead for this birthday gift to 
the Orchestra. ‘‘LeopotD StoKowskI.”’ 


The appeal sent to telephone subscribers ran as follows: 


‘*THE PresENt You CaN Make WitH Two Do.uars 
For YOURSELF AND CHILDREN 


‘A handful of people, for nineteen years, have paid all the bills of the 
Philadelphia Orchestra until now the foremost artists and the leading 
music critics have proclaimed it to be the greatest orchestra in the 
United States, and one of the five great orchestras of the world. 

‘The expense of the orchestra is now too great for a few to con- 
tinue to pay. This year the orchestra will be twenty years old, and, 
as a birthday present, it is now asked that the people of Philadelphia, 
as a whole, will make the orchestra permanent by completing its 
Endowment Fund, each contributing only two dollars, making it ina 
true sense the orchestra of the people. 


Your Two Do.uars WiLL NEVER BE SPENT 


“It will be carefully invested, and only the interest used for the 
Orchestra. Your gift is, therefore, one for all the years to come: a 
permanent gift to a permanent institution.” 


In December two concerts were given for these contribu- 
tors who numbered several thousand. 

When October 31st arrived and the million dollars was 
neither in hand nor in sight, the campaign was extended for 
one week. The appeals became more and more urgent. 


[134] 


Programme October 31st, November rst. 
““For Lack or HELP THE CAMPAIGN MAY FAIL! 


“Owing to a lack of sufficient workers, the Million Dollars necessary 
for the proper Endowment of the Philadelphia Orchestra has not 
been raised. 

“Tired, but full of courage, those who are working have decided 
to extend the campaign for another week. 

“Campaigns usually fail because the money cannot be had. Here 
the money is in sight, but the friends of the Orchestra have not come 
forth in sufficient numbers to collect the funds. 

“Is the campaign to fail for this unusual reason? 

“Will you not, man or woman, give a day, two days of this extra 
week to help us collect the last $250,000 necessary to complete the 
fund? 

“You cannot, at this time, render a greater service to the Orchestra. 
You can, at this most critical time, do your part to 


SAVE THE ORCHESTRA.” 
* * * * * 


‘Witt You Nor? — 


“May we ask you, as a final appeal for the Orchestra, to give to it 
Just Ont Liperty Bonp 

of any denomination, as your contribution to save the Orchestra for 

yourself and the city at this critical time in its history? 

‘Whether you have given previously or not, will you not do this 
one more act? 

“The Bond you give will not be sold: it will not be spent. Not a 
penny of it. It will be put away under a Deed of Trust, and only the 
interest on it will be used to maintain the Orchestra. 

“Could you put a Bond in a better, more permanent place?”’ 


*“Facrk TO FACE 


‘We now stand face to face with the question whether our Orchestra 
is to be preserved as it is or reduced to a second-class orchestra. 

“The Million Dollars necessary for its preservation have not been 
raised. 

“The campaign will, accordingly, be extended for one week. 

‘But the question, after all, is—Will you give? Will you help? 

“We need some $250,000 more. 

‘The workers have done their best. Hundreds of the friends of the 
Orchestra have not done their part as yet. Less than 5000 have 
contributed! 

“Is the truth clearly realized without the mincing of words: If 
this remaining sum is not raised, the Orchestra must be reduced; it 
cannot remain the glorious thing it is today.”’ 


‘‘Tue Trutu Is Simptze AnD DirecrT 
‘“We must tear down the beautiful Orchestra that has been so patiently 
and skilfully built up unless the Million Dollar Endowment Fund is 
raised. Only one week remains in which to do it. Whatever that tells 
is the answer.” 


[135 ] 


Finally the goal was won and the event was celebrated by 
a great dinner at which there was much enthusiasm and 
rejoicing, when it was announced that $1,100,000 had been 
contributed. 

The twenty-eight women Chairmen expressed their ap- 
preciation of Mr. Bok’s leadership in the following let- 
ter, which was read: 


‘*PHILADELPHIA ORCHESTRA ASSOCIATION 
CoMMITTEE OF FIFTy 


‘“EpwarD Box, Esqa., Chairman, 

Twentieth Anniversary Endowment Fund Campaign Committee 
“Dear Mr. Bok: 

‘The Women Chairmen of the Committee of Fifty desire to express 
their appreciation of your leadership as Chairman of the Twentieth 
Anniversary Endowment Fund Campaign for the Philadelphia 
Orchestra. 

‘The luncheons alone, as arranged and presided over by you, have 
been the most unique and inspiring series of affairs ever conducted in 
Philadelphia. But these have been only a part of your labors and a 
detail in the large plans which you have undertaken and carried out. 

‘We thank you for your unfailing courtesy toward us and for your 
words of encouragement at moments when the result of the battle 
seemed to be in doubt. Your imagination and enthusiasm have led us 
to victory and it has been a pleasure to co-operate with you in the 
important work of placing the Philadelphia Orchestra on a permanent 


foundation. Yours sincerely, 

(Signed) 
HxrLten WARREN ALLEN KATHARINE E. NEwcoMET 
ExvizaBETH H. ARNETT Marie R. Rosins 
Mary L. H. Asuton CouNnrTEss OF SANTA EULALIA 

per E. v. w. 

MaretTa VERNON CARVER IRENE H. SNELLENBURG 
ELizaABETH CoNWAY CLARK FiLorence Lewis SLAUGHTER 
Martua G. Cryer Marian M. THAYER 
MarGarettTa S. Dixon Lois C. THAYER 
NELLIE ANDREWS GAZZAM CAROLINE CLARK WEATHERLY 
ALIcE GRriswoLD Letit1a WHITE 
SALLIE Houston HENRY LovuisE CHANDLER WILLIAMS 
Cora Bairp JEANES Frances ANNE WISTER 
Nina Lea ADELE G. YARNALL 
Heen C. Lerpy Hortense L. ZECKWER 


Matinee Musical Club, 
Ciara Barnes ABBOTT, Chairman 
Motor Messenger Service, 
Natauis J. Etwyn, Chairman 
Victory Dinner, Philadelphia 
November roth, 1919.’ 


[ 136 | 


The campaign under the able leadership of Mr. Bok 
was inspiring and exciting to a degree. He gave time and 
money, but best of all, he gave ideas, and he proved himself 
an accomplished beggar and a clever general. 

The Association was not unmindful of his masterly 
achievement. At a meeting of the Board of Directors 
held November 26th, 1919, this resolution was passed: 


‘“Wuergas the Directors of the Philadelphia Orchestra Association 
recognize that the splendid services of Mr. Edward Bok, Chairman 
of the Campaign Committee of the Philadelphia Orchestra Endow- 
ment Fund, were largely responsible for the triumphant success of the 
Campaign, 

“Bz Ir Resoivep that the Directors of the Philadelphia Orchestra 
Association place on record such belief, and, further, their apprecia- 
tion of the energy, resourcefulness and self-sacrificing devotion with 
which he led the Campaign to success, together with a real expres- 
sion of their regard for him. 


Also this one passed at the Annual Meeting of the Asso- 
ciation, May 25th, 1920: 


“Mr. Edward W. Bok as Chairman of the Twentieth Anniversary En- 
dowment Fund Campaign Committee was successful, in October, 1919, 
in procuring from the people of Philadelphia and vicinity, a fund of 
One Million Dollars for the Philadelphia Orchestra. This fund, when 
added to the Endowment Fund of 1916, will place the Orchestra on a 
permanent foundation. 

“In no piece of work hitherto undertaken by Mr. Bok has he shown 
more decided talents of leadership, executive ability and resourceful- 
ness, than in this brilliantly executed campaign. Future generations, 
only, can measure the value of the establishment of a great orchestra 
in this city, but certain it is that the raising of this magnificent sum 
for music is an achievement the like of which Philadelphia has not 
previously witnessed. 


‘*Therefore be it REsoLvED: 


“That the thanks of the Philadelphia Orchestra Association be 
hereby expressed to the Chairman of the Endowment Campaign Com- 
mittee, Edward W. Bok, together with our appreciation of his great 
service to the Philadelphia Orchestra, to the cause of music, and to 
the people of Philadelphia.’’ 


Gifts ranged from one penny, given by a blind child, to 
$100,000. 'Many men and women of moderate means deprived 
themselves of necessities in order that the orchestra might 
live. Others gave time and others again gave both time and 
money, but never one word of regret has been heard. 


[ 1374] 


The Chairman's parting shot appeared in the programme 
book a week later: 


November 14th-15th, 1919: 


“THANK YOU! 


“The Million Dollar Endowment for the Philadelphia Orchestra 
has been secured with the goal passed by a generous margin. The 
result ensures not only the permanency of the present Orchestra but 
the expansion of its influence. 

‘To each and all who worked and gave and encouraged, we extend, 
individually and collectively, our heartfelt thanks. 

““We asked you to save the Orchestra! 

‘‘The Orchestra IS saved! 

“Thank you! 

THE PHILADELPHIA ORCHESTRA 
ENDOWMENT CAMPAIGN COMMITTEE 


November 14th, 1919.’’ 


Thus the creation of an Endowment Fund was achieved 
by the most extraordinary campaign ever conducted in 
Philadelphia, and through the contributions of more than 
13,000 people who wished to place a Philadelphia musical 
institution on a permanent foundation. 


[ 138 ] 


CHAPTER V 
TWENTY YEARS OF PROGRESS 


The Twentieth Anniversary of the Philadelphia Orchestra 
was celebrated on November 19th and 20th, 1920; and great 
was the rejoicing that this city possessed an orchestra of 
such attainment, brought to its present high state by a dis- 
tinguished conductor, and endowed by a large number of 
citizens of Philadelphia and vicinity. The long labors of the 
officers and directors, and of the Women’s Committees, 
were bringing their recompense. The occasion was cele- 
brated by the playing of the first programme given by Fritz 
Scheel in 1900; and the presentation of a silver loving cup, 
bearing the following inscription, to Mr. Van Rensselaer: 


‘“ALEXANDER VAN RENSSELAER 
First President of 
The Philadelphia Orchestra Association 

on the Occasion of the Twentieth Anniversary Concerts 

November 19th and 20th, 1920 
With gratitude and deep appreciation of his invaluable services 
from 
The Board of Directors, the Women’s Committees 
The Philadelphia Orchestra, the Business Management’ 


Tue PHILADELPHIA ORCHESTRA* 


‘With the concerts of November 19th and 20th, 1920, the Philadel- 
phia Orchestra celebrates its twentieth year; a year auspiciously 
opened in November, 1919, by completing the Endowment Fund. 

‘To have sustained an honorable career during twenty years 1s no 
mean attainment for a business enterprise, a school or an institution. 

- But for a group of people to support an orchestra for twenty years— 
years artistically certain, but financially uncertain—is a memorable 
achievement and a cause for congratulation and rejoicing. 

‘The first concert of The Philadelphia Orchestra was played on 
November 16th, 1900, and was one of the series of six evening con- 
certs given during the season of 1900-1901. The names of the founders, 
Dr. Edward I. Keffer, Mr. Edward G. McCollin, Mr. John H. Ingham, 
Mr. Oliver Boyce Judson, and Mr. Oscar A. Knipe, who formed the 
Executive Committee, did not appear on the programme. Neither 


*Programme book, Navember rgth and 20th,1920. 


[139] 


was it publicly known that this was the Committee which had 
asked Mrs. Alexander J. Cassatt to arrange the so-called Philippine 
Concerts about six months earlier, which gave Fritz Scheel his first 
opportunity to conduct in Philadelphia an orchestra composed of 
professional musicians. 

“On the programme for the second series of concerts, consisting of 
fourteen pairs, during the season of 1901-02, the names of the above 
gentlemen appear with the additional names of Mr. Alexander Van 
Rensselaer, President, and Mr. Henry Whelen, Jr., Treasurer. 

‘The talents of Mr. Scheel, who died after seven years of devotion 
to the cause, soon placed the new organization among the first in 
America; and the work thus begun has resulted in an orchestra which 
has steadily and surely advanced to its present pre-eminent position 
under the leadership of Leopold Stokowski."’ 


* * **F * * 


‘The history of the Philadelphia Orchestra cannot be written in 
this brief space. It is a story of the pioneers who were inspired to 
found an orchestra; of devotion, faithfulness and financial aid on the 
pa of the Officers and Board of Directors; of continuous work by the 

our Women’s Committees; of an ‘Unknown Donor,’ who is no longer 

‘unknown’; of loyal support from interested citizens, and of a group 
of artists, whose music speaks for them and for their leader. In short, 
the orchestra, which now speaks for Philadelphia the world over, is 
the result of co-operation on the part of all these groups; a co-opera- 
tion which has made Philadelphia one of the great musical centres of 
the world.”’ 


Public Ledger, November 20th, 1920: 


““OrcuestTra Gives BirtHpay CONCERT 
‘‘Programme same as that presented at First Performance 
Twenty Years Ago 
‘Players Warmly Greeted 
“Silver Urn for Mr. Van Rensselaer After His Review 
of Two Decades 


“The Philadelphia Orchestra gave a concert yesterday that was real 
music, all of it. There was nothing ‘modern’ in the programme, noth- 
ing that teased the ear with puzzle-problems or geometric exercises 
wrought ingeniously. The performance celebrated the Twentieth 
Anniversary of the first concert and the programme was the same as 
on that fundamental occasion. ’’ 


* * * * * 


‘After the symphony came the celebratory features. Alexander Van 
Rensselaer made a graceful address in brief review of the twenty years. 
The finished product of the present, he held, was the outcome of 
united effort. The chief credit must go to the indefatigable women’s 
committees. The munificence of the until recently Bin a donor,’ 


[ 140 ] 


Mr. Bok, assured us five years more of the inspiring leadership of 
Stokowski, and has established the endowment fund. 

“Dr. Stokowski declared that the music spoke for itself and that 
the orchestra was heartily glad when it gave pleasure to its hearers. 
Dr. Hart, in behalf of a committee, made an eloquent and feeling 
speech in deserved tribute to Mr. Van Rensselaer, and presented a 
silver urn of enormous dimensions, together with a set of resolutions. 

‘The members of the committee standing with Dr. Hart were Miss 
Frances Wister, Miss Anne Thomson, Mr. Judson and Dr. Rich, and 
the actual presentation was made by Miss Thomson. The orchestra 
blew a fanfare and the audience stood and applauded.”’ 


PERO oe pk 


Public Ledger, November 20th, 1920, Editorial: 


‘“TwEentTy YEARS IN Music 


“In signalizing its twentieth anniversary with a revival of the origi- 
nal programme directed by Fritz Scheel on November 16th, 1900, the 
Philadelphia Orchestra has enabled its friends to indulge in pleasur- 
able reflections. 

“It is difficult, of course, to recall accurately, the artistry of any 
performance, musical or dramatic, after a lapse of two decades. But a 
highly sensitized memory is not needed in this instance. Between the 
most pioneering effort of the orchestra, which ventured upon only six 
concerts in its first season, and the authority and artistic opulence of 
the present organization, there is a sepa in which the whole 
community can take the profoundest pride. 

“Not only has the orchestra headed by Mr. Stokowski attained toa 
position of splendid leadership in the realm of music, but the esthetic 
standards of Philadelphia have admirably kept pace. Without affec- 
tation it may be said that the growth of musical culture in this city 
during the last score of years has been gratifyingly vigorous, unsur- 
passed here in any previous period of similar length.” 


* *« %* %+* 

“Cultural appreciation, it is said, usually follows an era of fervent 
inspiration. Evidently it is an age of the former in which we are now 
dwelling, hence the abiding charm and appeal of a twenty-year-old 
programme. The new honors, well worth an anniversary observance, 
are for the interpreters.” 


To those who had devoted years of effort to the orches- 
tra, this occasion was full of interest. Their thoughts flew 
back to memories of Fritz Scheel and the early Snes ; 
to the advent of Leopold Stokowski and the advance of the 
orchestra to its present position; to the changed attitude of 
the public. A procession of events seemed to march down 
the years; the inauguration of a Pension Fund; the Mahler 
Symphony and the Chorus; the Peoples’ Concerts; the Uni- 


[141 | 


versity of Pennsylvania Concerts; the effort for Popular and 
Sunday Concerts. Such recollections made the life of the 
Philadelphia Orchestra seem full and vigorous. 

The twentieth season was especially fine musically. It 
marked the inauguration of the Special Monday Evening 
Concerts, three in number, which have gradually been 
increased to ten. 

Other musical features of the year were Beethoven's 
Ninth Symphony; the playing in November, 1920, of ‘‘The 
Pilgrim Vision’ by John Alden Carpenter, commemorating 
the 300th anniversary of the landing of the Mayflower: the 
three performances in March, 1921, of the Brahms Requiem; 
and the presentation of Mahler’s Second Symphony, both 
with the Chorus, trained by Mr. Stephen Townsend, of 
Boston. 

It also marked the first appearance, as guest conductor, of 
the celebrated leader, Willem Mengelberg, of Amsterdam. 

The year was one of great satisfaction to all lovers of the 
Philadelphia Orchestra. An organization founded on faith 
that it would succeed artistically; and on faith that Phila- 
delphia would eventually cherish it to the extent of placing 
it on a permanent financial basis, had justified the hopes of 
the founders in both these particulars. The number of 
musicians had been augmented from eighty-five in 1900, 
to ninety-six in 1920, and the audience had so increased 
that hundreds of people were often turned away. 

All persons therefore interested in the progress of music 
in the city and especially the ones whose efforts had helped 
to bring about this result rejoiced in the position now 
occupied by the orchestra. 

In addition to delighting music lovers here and else- 
where, the Philadelphia Orchestra was carrying the name 
of Philadelphia gloriously around the world. 


[ 142 ] 


CHAPTER VI 
MusicaL NEIGHBORS 


Occasionally philanthropic citizens express the wish that 
the Philadelphia Orchestra was not conducted exclusively 
for a few idle rich. Therefore, it is well to record some of 
the things that the orchestra has done for the general pub- 
lic in this city. 

The policy of the Association from the beginning has 
been to make the orchestra the centre of Philadelphia’s 
musical life in an inclusive, not an exclusive sense. Hence it 
has always been ready to reciprocate any assistance ren- 
dered to it by giving its services free of charge on numerous 
occasions. Often, of course, financial conditions had to be 
considered first. Among the societies that have co-operated 
in choral performances, without recompense, and, no doubt, 
at considerable expense to themselves, are: the Eurydice 
Chorus, Fortnightly Club, Jungermaennerchor Singing 
Society, Mendelssohn Club, Philadelphia Choral Society. 
Outside of Philadelphia the Bach Choir of Baltimore,* 
Schola Cantorum of New York, and Pittsburgh Chorus. 

On its part the orchestra has given a number of special 
performances without remuneration, such as the concert for 
the Manuscript Music Society in 1913, the concert in 
collaboration with the Mendelssohn Club in honor of Dr. 
Wm. Wallace Gilchrist two years later; a performance at 
Camp Dix and a concert for the benefit of the American Red 
Cross, 1918; a French War Relief Benefit the next year; the 
music at the presentation of the Philadelphia Award for 
four yeats beginning in 1922, and the concert with the 
Mendelssohn Club to celebrate its Fiftieth Anniversary in 
January, 1925. Special concerts were given for the National 
Federation of Music Clubs in 1911, and for the National 
Convention of Music Supervisors in 1920. 

It must be remembered that such concerts undertaken in 
addition to the regular engagements for the season have 
entailed special preparationand have been an added burden 
to the busy conductor. 





*See Appendix G. 


[143 | 


From the earliest days an effort was made to give music 
to the numbers of people who enjoy lighter programmes. 
Popular concerts at low prices were inaugurated by Mr. 
Scheel in 1903, at which time the name “‘Popular’’ was 
such a misnomer that they had to be given in the form of 
benefits on a fifty per cent basis of profit. Such concerts 
were given at intervals after this for some years, and 
consecutively from 1909-10 to 1914-15 inclusive. In May, 
1916, an effort was made to institute “‘Pop’’ Concerts after 
the manner of the Boston Orchestra, at the close of the 
regular season. The Academy parquet was floored over 
and light refreshments were served at tables. The first sea- 
son of eleven evenings went off brilliantly, under the alter- 
nate leadership of Mr. Stokowski, Dr. Rich and Mr. C. 
Stanley Mackey, and left a small surplus on hand. Prices 
ranged from fifteen to fifty cents. The second season the 
number was increased to eighteen, and for reasons not 
understood the Association was left with a deficit, which 
caused the venture to be abandoned. 

An early enterprise of a Ph ane nature was the 
‘“People’s Concerts’ planned by the Executive Committee 
but placed in charge of the Civic Club, with a committee 
composed of Mrs. Edward I. Keffer, Chairman; Mrs. 
Spencer Ervin, Mrs. C. Howard Clark, Mrs. Frank Rosen- 
garten and Mrs. Walter Horstmann. 

The first programme would have pleased the most fastidi- 
ous of tastes: 

Labor Lyceum Hall 
Second and Cambria Streets 
Tuesday Evening, December 15th, at 8.15 o'clock 
First of the Series of 
THE Propie’s Concerts 
by the 
PHILADELPHIA ORCHESTRA 
Fritz ScHre.L, Conductor 
Under the Auspices of the Civic Club 


PROGRAMME 
1. Ferix MENDELSSOHN-BARTHOLDY..... Wedding March from 
“Midsummer Night’s Dream”’ 
2) Hector Bercroz.i).)0.). 5.08 Le Carnaval Romain 
3. Josep GopEFROID. 20.000 ipso ee Dance of the Sylphs 


Solo for Harp, Alfred Kastner 


[144 |] 


ORAM NED IRAUSS ise de eel eck ice es Blue Danube Waltz 


MEER LASSENET (00 oe. ee ee eee Scenes Neapolitaines 
6. GroacHINo ANTONIO RossINI......... Overture ‘‘William Tell’’ 
EN EV TEURTEMPS oi cet es eee Fantaisie Appassionata 
Solo for Violin and Orchestra, Hugo Olk 
wo MS DENIS SSOLTE (07 4 i rr Invitation to the Dance 
Oe ateert FRANZ DOPPLER... 22... 66.020 “Das Waldvoeglein’’ 
Solo for Flute and Horn Quartette, August H. Rodemann 
Pee REAR WAGNER cs oy.) 0h fac ee’o eee Overture ‘“Tannhaeuser’’ 


Admission 10 Cents 


In the Annual Report of the Civic Club for 1904 this 
account is given: 


“The first ‘People’s Concert’ was held in Kensington at the Labor 
Lyceum Hall, Second and Cambria Streets, admission being ro cents. 
It was largely through the co-operation of Mr. R. R. P. Bradford, 
of the Lighthouse Lyceum, his Committee and Miss Esther Kelly, 
that the concert proved to be such a great success. The hall was 
crowded and the people most enthusiastic; Mr. Scheel and his 
orchestra were greatly interested and gave a number of encores. 


“The receipts were $236.62 up to January ist; expenses, $103.02. 
We hope to have a balance of almost $100 when all returns are made. 
This balance to be considered a fund for the People’s Concerts. The 
second concert will be given at Bethany Hall on January 11th, the 
third at Tuxedo Hall in March.”’ 


There was no doubt about the success of these concerts 
from the point of view of the enjoyment of the audiences. 
The hall was crowded almost to the danger point, and the 
enthusiasm was unrestrained. The Women’s Committees 
were much interested and kept in touch with Mrs. R. R. 
Porter Bradford of the Lighthouse, Kensington, who knew 
the value of such music in a section where the shutting 
down of textile mills for a winter often made the price of a 
ticket unavailable. The Committees used their persuasive 
powers with the Board of Directors to continue these con- 
certs at considerable expense, until a fight between two 
labor unions made it impossible to rent the hall, the only 
one in the neighborhood, and the concerts were no longer 
given. They were the means, however, of procuring a num- 
ber of guarantors, who were interested in the orchestra 
from a philanthropic, instead of from a musical point of 
view. 


[145 ] 


From the first, special rates were offered to music students 
through the music schools of Philadelphia, for the attend- 
ance of the young was especially desired. Tickets were also 
distributed free, but the response was not encouraging. 

Special pees wete offered to boarding schools in and 
near Philadelphia, but they too were not eager to patronize 
symphony concerts. 

In 1909, through the Women’s Committee, about 43,000 
circulars about the orchestra were sent out by the music 
schools and other schools with their prospectuses, a favor 
much appreciated. 

Special Concerts were given for the students at Weight- 
man Hall, University of Pennsylvania, from 1909-1922. 
These were conducted under the auspices of a committee 
composed of representatives of the student body, of the 
Faculty Tea Club (of which professors’ wives were the 
members) and of the West Philadelphia Women’s Com- 
mittee for the Philadelphia Orchestra. Although the hall 
was unsuited to orchestral performances, and the stage 
inadequate in size, these concerts were very popular, and 
the orchestra was always treated in college style. Press of 
engagements combined with the unsatisfactory physical 
conditions there caused the abandonment of these. 

Through the generosity of Mr. Cyrus H. K. Curtis two 
series of eight ‘Public Ledger Educational Concerts’’ were 
given for public school children in 1915-16 and 1916-17. 

Public School Concerts have been given at the Academy 
of Music, with all tickets at fifty cents, during the last two 
seasons. 

Also for many years the orchestra played for the benefit 
of the Stetson Hospital under a special business arrangement. 

Free Sunday Concerts were inaugurated at the Metro- 
politan Opera House in 1915-16, with a series of three, and 
continued during the next season. 

The Public School Concerts given in 1915-16 and led by 
Dr. Rich must not be forgotten. They took place at the Nor- 
mal School, Wm. Penn High School, Philadelphia High 
School for Girls, Boys’ Central High School, Germantown, 
West Philadelphia, Frankford and Southern High Schools. 

The Young People’s Educational Concerts should be 
mentioned. Such a series of five concerts was first given by 
Fritz Scheel in 1902-03, at the Broad Street Theatre, with 


[ 146 ] 


lectures by Wm. J. Henderson, Wm. F. Apthorp, Louis C. 
Elson, Hugh A. Clarke and Henry E. Krehbiel. During 
1903-04 and 1905-06 they were continued, and after a long 
intermission came to life again in the Children’s Concerts, 
instituted in 1921. *A special committee was organized in 
which many associations wete represented and the concerts 
were so successful that a second series is now given in order 
to meet the demand. There is no more inspiring sight than 
to watch the Academy filling up with eager-faced children 
or than to hear their quick response to Mr. Stokowski's 
remarks. The first series was devoted to an explanation of 
the instruments and the programmes are progressing educa- 
tionally year by year. The principal difficulty so far en- 
countered is to prevent grown-up children from attending. 


CoMPOSITIONS ON THE CHILDREN’S CONCERTS 


“I want to tell you the lovely time I had at the concert. I want to 
thank you for sending the tickets. I adored the beautiful light in the 
Academy of Music. The conductor’s name was Mr. Stokowski and 
he was a very nice man. I liked the part when the little boy only 
seven years old played the violin. He looked like Jackie Coogan. He 
watched the leader all the time he played. I wonder how long it took 
him to learn to play the violin so well. 

“Mr. Stokowski is a very pleasant man. He conducted very well. 
He told a story of a little goat boy who played on Sand Pipes. He 
asked the people to sing Auld Lang Syne.”’ 


“T thought the concert was fine. I think the little boy played a good 
piece of music when he played his violin. I would like to play a 
drum, because my brother plays a drum, and I could easily learn. He 
used to play in a band called the “‘Ardmore Band.’’ He was the best 
drummer they had. People could hear him far away.”’ 


‘I enjoyed the concert so much. The orchestra was the largest I have 
ever seen. It seemed as if there were at least a hundred men on the 
stage. Mr. Stokowski looked very gay in his medium blue suit. I 
liked to watch his hands. 

‘‘He said anyone could learn to play in an orchestra if he wanted 
to, because it was up to the person himself.”’ 


This short account demonstrates that the Philadelphia 
Orchestra is a neighbor of much value to the community in 
which it dwells. 


*See Appendix L. 


[ 147 | 


Cuapter VII 


Tue SupPORT OF THE PuBLIc PREss 


Long before the project of a permanent orchestra for Phila- 
delphia received any degree of once support, the news- 
papers of this city in a body used their influence in favor of 
such an institution. Some one has spoken of newspaper life 
as a ‘career for patriots,’ and surely the editors of the daily 
papers deserve this title, if any newspaper men do. No stone 
was left unturned to further the effort for a first-class 
modern orchestra in this city. Paid-for space announcing 
performances is one thing. Editorials by the column and 
general information, besides the work of the music critic 
for each paper are another. In the orchestra archives are 
scrapbooks filled with editorials of immense value to the 
cause. For the newspaper is a marvelous teacher of public 
taste and a molder of public opinion. What would the task 
have been for such a small number of people, first five, then 
eight, then twenty-four, to which were presently added 
twenty-one women, if such support had not been prompt 
and constant? The gallant list of newspapers, some of which 
no longer exist is, the Evening Bulletin, the Evening Ledger, 
the Evening Telegraph, the Item, The Inquirer, the North 
American, the Press, the Public Ledger, the Record, the Times. 
Not only was support given to the orchestra itself, but to 
the Women’s Committees in every undertaking. For this 
publicity the Philadelphia Orchestra is in deep debt to the 
Philadelphia papers. 

Of the music critics it can be said that they are human in 
their likes and dislikes, but have always been really inter- 
ested and friendly. 

One newspaper writer must be mentioned. Mrs. Cornelius 
Stevenson, as ‘Peggy Shippen”’ used her clever pen to further 
the cause and especially the work of the Women’s Commit- 
tees; and was an honorary vice-president from the beginning 
until her death. She was also one of the original guarantors. 
She was not a music critic, but in her youth she had possessed 
a fine contralto voice and she was a devoted music-lover. 

So many articles and extracts have already been given 
that only one more will be added in order to prove that 


[ 148 | 


TS Moe 


Philadelphia newspapers and many others have been warm 
friends of the Philadelphia Orchestra. 


Evening Telegraph, March 18th, 1901, Editorial: 


‘*For A PERMANENT ORCHESTRA” 


‘A constituency of nearly 3,000,000 people within sight of William 
Penn's statue on the Public Buildings ought to be able to support all 
the institutions pertaining to a great modern metropolis. The news- 
ete the hotels, the theatres, the great stores, the transportation 
acilities, and the institutions of learning and of science in Philadel- 
phia will compare favorably with those of any other community of 
2,000,000 in the world; while the Park attractions, and the galleries 
and exhibitions of works of art are, in some important respects, far 
above the standard referred to. One factor of the metropolitan order 
of civilization has, however, been lacking. Up to a very recent period, 
Philadelphia has not kept pace with the modern procession in the 
public recognition of the value of music as a factor of civic life. While 
several American cities of half the size and quarter of the wealth have 
each maintained a permanent orchestra of the first class, Philadelphia 
has not had such an organization of any class. True, the Germania 
Orchestra made a brave struggle for existence, aided by the Pennsy]- 
vania Academy of the Fine Arts, and, for a time, gave promise of 
building up a permanent orchestral structure on a solid basis, but this 
endeavor was made largely at the cost of the musicians. While the 
Germanians and others who have devoted time and money to the 
service of the community deserve and should be given credit and 
honor for their labors, it yet remains true that to establish a perma- 
nent orchestra worthy of the city, the first requirement is a solid 
financial foundation to build on. 

“Such a foundation is the one thing we need to provide at this 
hour. We can today secure a permanent orchestra of the best type for 
our city by providing a permanent basis for its support. We are 
fortunate in having here at this time a musician who is at once a 
thorough artist and an efficient drill master—a rare combination of 
qualities that gave to the late Anton Seidl the highest place among 
orchestral leaders. It is not necessary to institute comparisons 
between Mr. Fritz Scheel and other conductors, but it is proper to say 
he has demonstrated the possession of these higher qualities that go 
to the making of a great leader. He has done wonders with the mate- 
tial at his command in this city, and that, too, under conditions 
unfavorable enough to discourage any less enthusiastic musician or 
less energetic worker. In view of what he has already accomplished 
in the comparatively short time he has been at work here, it is a safe 
and reasonable presumption that if given a guarantee of control for 
five yeats, with means enough available to warrant satisfactory con- 
tracts with competent musicians, Mr. Scheel would create for us a 
permanent orchestra second to none in this country. There is no ques- 
tion as to his ability to undertake this task; the only thing to be 
determined being whether we are wise enough and farseeing enough 
to strengthen his hands for its accomplishment.”’ 


[149] 


CuHapter VIII 


Tue LisTENERS 


The largest portion of this story has been devoted to the 
orchestra itself, and the people who founded it, supported 
it and endowed it. Now comes the turn of the party of the 
third part, the audience. An orchestra may be wonderfully 
trained, superbly led, comfortably supported, and yet miss 
the main point of existing. For without listeners, even in 
the days of radio, an orchestra is incomplete. 

In 1900 it was difficult to lure listeners into a concert 
hall, where symphonic or severely classical music was to 
be played. Philadelphians began by listening to symphonies 
in bits and in the late nineties it was the custom for the Ger- 
mania Orchestra to play one movement of a symphony each 
week for four weeks, and play the entire work in the fifth 
week. Theodore Thomas did not do this, but he could not 
get an audience in 1876 or even in 1881. 

It is an inspiring sight of a Friday afternoon or Saturday 
evening to see the crowds bound for the Academy of Music. 
Equally inspiring, is it to see the audience standing on the 
steps of the Academy and on the street for two and three 
hours before admission can be had to the Amphitheatre for 
fifty cents. True lovers of music these. 

One of the methods employed to persuade people to take 
season seats was the membership in the Auxiliary of the 
Women’s Committees. Another was the lure of big soloists. 
Year by year, this musical organization was obliged to at- 
tract by advertising the appearances of great artists. But 
once the audience was procured, it stayed; and today solo- 
ists are on the verge of becoming unpopular. Such is the in- 
fluence of symphonic music. 

The right to interrupt the progress of a concert by demands 
for repeated encores was one which the audience gave up 
with little grace. In 1913 a paragraph appeared on the 
programme, stating that: 

‘The management has decided in no case to permit more than one 

encore. 


And again: 
[ 150] 


‘As encores tend to disturb the unity of an orchestral programme the 
penn of the Philadelphia Orchestra Concerts are respectfully in- 
ormed that encore demands cannot be granted.”’ 


The conductor had one or two bad experiences, which oc- 
cupied some minutes, but finally patience won the day and 
the audiences realized that this pleasure, if it was a pleasure, 
was over forever at a symphony concert. 

Next came the hat question. It is not a new one, for in 
1841 the Musical Fund Society placed this notice in one of 
its programmes: 


“Ladies are particularly requested not to wear their bonnets in the 
concert room.’ 


This makes one realize that Philadelphia women were 
always devoted to their hats. The war on hats was a merry 
one and began as early as 1906, at a time when hats were 
large. It is rumored that the fashion at the moment re- 
quired pinned on hair, so hats could not be removed. This 
matter was taken up in the Women’s Committee, thought 
by some to be like the complaint desk of a department 
store; a situation of which they are proud, as it shows how 
the public turns to the women. Much discussion arose and 
notices began to appear in the programmes: 


“For the greater convenience of all concerned, it is earnestly hoped 
that the women patrons of the Orchestra WILL REMOVE THEIR 
HATS during the performance. In many cities local ordinances com- 
pel, by legal means, the removal of head coverings that obstruct the 
view in places of amusement.”’ 


*“MapAaME Homer As A HEROINE 


“Louise Homer, the popular contralto of the Metropolitan Opera 
Company, who was the soloist at the Symphony Society’s concert in 
the New Theatre,’’ writes a New York critic, ‘‘proved herself a 
heroine. SHE TOOK OFF HER HAT! To herself and to every woman 
in the house, probably, the big creation, or confection, or whatever 
it is called, which she wore as she came upon the stage was a triumph 
in the art of millinery. Mere men knew only that it hid her lovely 
face. If the audience hadn't been as well bred as it was musical, there 
would have been a demonstration when she pulled out the pins, re- 
moved the hat and placed it at the foot of the conductor’s stand. 
Instead there was only an audible sigh of delight. Is it too much to 
hope that Mme. Homer’s sister artists will hasten to follow her 
example, and that the hosts of her sex who attend concerts and 
recitals may be moved to accede to the request of the managers: 
“Ladies will please remove their hats’?”’ 


[151] 


The “‘hat question’ would not down, but in Philadelphia 
the situation was nothing to what it was in Boston, for the 
management was obliged to put the following alarming 
announcement in the Programme Book: 


‘“His Honor, the Mayor, has notified the Management of Symphony 
Hall that, unless the law relating to the wearing of hats by ladies at 
public entertainments is obeyed at the Symphony rehearsals and con- 
certs, he may be forced to revoke the license of Symphony Hall!’ 


“THE HAT AT THE CONCERTS 
““AN Earnest Request oF OuR WoMEN PATRONS 
‘A number of complaints have reached the Orchestra Association 
regarding the practice of women wearing their hats at the Orchestra 
Concerts, particularly at the Friday afternoon concerts, despite the 
notice printed each week in this program asking that for the comfort 
of others the hats shall be removed. This complaint has become so 
general that it now bids fair to result in a city ordinance, the same as 
in Boston and in Chicago, enforcing the removal of hats at all occa- 
sions of public amusements. This legal enforcement of what should be 
a matter of polite request ought not to be made necessary and the 
Orchestra Association earnestly asks of all its woman patrons that 
they will not permit this very simple matter to reach this acute stage. 
The Association would exceedingly regret to be compelled to carry 
out such an ordinance and it is within the power of each of our 
woman patrons to keep what after all is a matter of simple thought- 
fulness within the bounds of politetiess and consideration for others." 


Hats today are small, but all the listeners are not yet 
converted. 

The next most disturbing element was, and is, the rest- 
lessness of the audience. 

There is a mistaken idea that coming late and leaving 
early is peculiar to the modern era, and this day of haste. 
Far back in 1882 we know that people left concerts early 
from this notice in a programme of that year: 


“NOTICE 
“The patrons of the Germania Orchestra Concerts are respectfully 
requested to be in their seats, on the evenings of the concerts, by 
eight o'clock punctually. 

‘Those persons who are unable to comply with this request, will 
kindly wait in the lobby until the close of the First Movement of the 
Symphony, when a pause will be made to enable them to reach their 
seats." 

Coming late is the habit of the American world at least, 
even when taking trains. Being locked out does not rem- 
edy this habit, it only evokes a few growls. 


[152] 


_ Again the management took up the subject through the 
_ programme: 
‘‘NotEs oF INTEREST 


“The hat question is not the only question that arises from time to 
time to prevent that serene enjoyment of concerts, which is the ideal 
estate of things hoped for by Management and concert-goers. Perhaps 
in the Elysian fields, choirs armed with angelic harps, are listened to 
without distractions furnished by late-comers and early-goers, or by 
people whose views on the numbers interpreted are as obstreperous as 
their hats, or the numberless physical annoyances that make for con- 
fusion and noise, that seem to be inevitable in concert auditoriums 
the country over. And this is apropos of the fact that a subscriber has 
written in to say that “The general confusion during the last number 
of the concerts on Friday afternoons is most annoying,’ and she con- 
tinues, ‘I am wondering whether a request cannot be put in the pro- 
gtamme to stop this nuisance, as has been done with regard to the 
wearing of hats. This is what one meets with; almost as soon as the 
last number begins, hats and coats are put on, veils are arranged, and 
during the playing of the finale people keep leaving, causing a general 
feeling of unquiet and unrestfulness. This seems to me very dis- 
courteous, and is most annoying to those who really want to enjoy 
the concert from start to finish. I know that sometimes it is necessary 
for a subscriber to leave early, but may I suggest that the persons who 
have to leave before the last number, vacate their seats before the 
Orchestra starts to play.’ 

“All this seems reasonable enough, but it is a matter entirely in the 
hands of the concert-goers, who form their own ‘court of honor’ in 
these particulars.’’ 


However, Philadelphia audiences have improved in con- 
cert manners since the olden time. Then the audiences, 
although considered ill-behaved, were much like European 
ones; they did throw things at the singers and did not 
hesitate to express their opinions of the performance. But 
the city has advanced, as can be seen by the following notice: 

‘*Pistole Reward—To whoever can discover the person who was 

so very rude as to throw Eggs from the Gallery upon the Stage, 


last Monday, by which the Cloathes of some Ladies and Gentlemen 
were spoiled and the performance in some measure interrupted!’’* 


Now we do not throw things, the performance is only 
‘in some measure interrupted’’ when we cough and sneeze 
during concerts and operas and occasionally come in late. 
Frequent interruptions of a performance by the screams and 
calls of displeased listeners, to say nothing of constant con- 
versation were the order of the early days of public music. 





*Sonneck: ‘‘Early Concert Life. 


[153] 


Not worse here than elsewhere, but annoying just the same. © 
Now a whisper is hardly ever audible at concerts, and a hiss 
is called forth only by a modern composition too terrible to 
allow to pass unnoticed. A hiss every now and again is not 
an unhealthy sign. It shows that someone is listening; and 
there are a few coughs but always behind the conductor's 
back. 

Early in the life of the orchestra the public began to write 
letters of complaint to the management and to the news- 
papers. The management feels that this is a sign of healthy 
interest and welcomes these comments. It shows how strong 
the sense of possession of the orchestra is with its patrons. 

Encores have vanished like the missiles of the past. Hats 
and restlessness are going out of fashion. The audiences of 
the Philadelphia Orchestra are wonderful groups of people, 
some of whom have held seats continuously since 1900. 
Their regular attendance has encouraged the Board of Direc- 
tors and inspired the conductor and the musicians to artistic 
achievements. The party of the third part is doing its share 
toward making the concerts a success. 


[154] 


CHAPTER IX 


THe TWENTY-FIFTH ANN IVERSARY 


Anniversaries are times for reminiscences and a general sur- 
vey of affairs. 

The Corporation known as “‘The Philadelphia Orchestra 
Association’’ to-day consists of four parts: 

First, the Association :* comprising the subscribers to the 
Endowment Funds of $25.00 or more, and the yearly sub- 
scribers to tickets for the regular series of concerts; and a 
Board of Directors elected by them (one-third annually), 
who in turn elect the officers; 

Second, the Philadelphia Orchestra; 

Third, the four Women’s Committees; 

Fourth, the Business Management. 

It is hardly necessary to mention the interdependence of 
this quartette of activities, or to explain how many people 
have worked to procure an orchestra for Philadelphia. 

In 1900-1901 the Philadelphia Orchestra, composed of 85 
musicians gave six evening concerts. In 1925-26 this orches- 
tra, composed of 106 musicians, will give performances as 
per the following schedule: 


tAcapemMy oF Music, PHILADELPHIA 
Regular Series, 29 Friday afternoons, 29 Saturday evenings. 58 


Pe ee eties ss MOUGAY CVCDINGS, 66. is. nea case vba ees 10 
Reriy tibet eOUCertS. 2 SCLICS. 2. ok. ee ee eee 8 
NER UAE AM UT yt hs ksi a we aie vl oe ee 3 
Re PAT cae pies. fohye ein hed Dds She dR ees I 
Out-of-town Concerts: 
OTe SGT UR Gh ne OR Rene are EEE yt egy 10 
ROU sae apts ane wee eh ae 5 
eat eMN TS eles. vss na ete sy ee ee ae tae 
Pittsburgh, Dayton, Chicago, Cleveland, Toledo, 
eros Princeton, one Gach. Atle oes eZ 
LES Wir s ELY Boa aR nae PIO oa ott eee MLE AY tee 105 
REcoRD OF PERFORMANCES 
Total number of concerts, twenty-five years............ 2017 
ECE OSEDOUCG licker ian Vesela mentee, ea nE Ni we’ 6 
mem berecanceiied) (Ottawa, 1024). vous ey tw ds a ae I 


*By-laws, 1920. 
TFor full list of performances, see Appendix E. 


[155 ] 


A more perfect fulfillment of obligations would be hard 
to find. 

The regular series of symphony concerts in Philadelphia 
has been the primary object and main concern of the Asso- 
ciation. Other performances have been included when the 
Philadelphia demand did not consume all the time of the 
orchestra. Now a third series is being built up, consisting 
of ten Monday evening concerts, at which the programmes 
are identical with those of ten of the regular series. More 
and more this city is absorbing its own orchestra. 

During these twenty-five years much traveling has been 
done. The first journey was to Reading in 1900. The next year 
concerts in five Pennsylvania cities were added as well as 
in Trenton and Wilmington. In 1902-03 the first concerts in 
Baltimore and Washington were attempted and the first 
New York appearance was made. Growing bolder with 
advancing years appearances were made in new cities each 
year, of which the following are the most important: 
Boston (1903-04); Baltimore and Washington, five each 
(1906-07); Pittsburgh, one (1911-12), five pairs (1916-17); 
New York City, five afternoon concerts (1918-19); Tor- 
onto, three concerts (1919-20); New York City, ten con- 
certs (1922-23). | 

The orchestra has traveled as far east as Portland, Maine; 
as far west as Detroit and Ypsilanti, Michigan; as far south 
as Richmond, Virginia, and as far north as Toronto, 
Canada. During the coming season Chicago will be added 
to this list. 

Traveling has been tinged with adventure. In 1908, when 
returning from Wilmington, the special train carrying the 
orchestra was wrecked near Chester. Mr. Pohlig and six 
musicians were injured, when the cars were derailed and 
rolled down a steep embankment. Fortunately, there were 
no serious injuries and all the instruments were unhurt. 

Ten years later the orchestra reached Kalamazoo, Mich., 
with difficulty during a severe blizzard, en route for Grand 
Rapids, where a concert was to be played. The thermometer 
fell to 27° below zero in a sixty mile gale. The concert was 
postponed but later given. 

The last experience of winter weather was in Canada in 
1924, when the Ottawa concert was cancelled after the 
audience had waited in perfect good humor for three hours, 


[ 156 ] 


hoping that the train carrying the orchestra could push 
through the snow. 

In the past special trains were almost invariably used. 
Since railroad transportation has more than doubled, and 
since the charge for a special train has also been raised, 
the management wherever possible has availed itself of 
regular trains, generally running as a second section. Since 
the party now constitutes upwards of one hundred and 
twelve people, five twelve-section drawing room cars and 
one baggage car make up the equipment for night trips. 
Going to New York, two coaches are attached to an early 
afternoon train, and a special train home is provided after 
the performance. 

cee 

The labors of the officers and directors have been con- 
tinuous. The Executive Committee, chosen from the Board 
in the early days; a sub-committee composed of Dr. Keffer 
and Mr. McCollin; the Committee of Three, consisting of 
Mtr. Norris, Mr.Wheeler, and the late Mr. Charles A. Braun, 
who with the president, met daily from 1908 until 1920, 
shouldered most of the responsibility. Under the new By- 
Laws the Administration Committee composed of Messrs. 
Edward W. Bok, James Crosby Brown, Samuel S. Fels, 
Charles D. Hart, Effingham B. Morris, William Jay Turner, 
Alexander Van Rensselaer, and Andrew Wheeler, perform 
the arduous task of meeting every week regularly to dispose 
of the business of the Association. 

In the early days Mr. Henry Whelen, Jr., made it possible 
to carry on the orchestra under financial difficulties, from 
1900 until his death, which, coming so soon after the loss 
of Fritz Scheel, was a double blow. On May 22nd, 1907, 
this resolution was passed by the Board of Directors: 

“The death of Mr. Henry Whelen, Jr., has deprived this Board of a 

most capable and efficient officer, and its members, of an esteemed and 

highly valued friend. To an artistic temperament, he added rare 
qualities of judgment and discretion inherent in a disciplined mind, 
and coupled with a sense of duty and habit of industry that con- 
tinually and cheerfully placed his valuable services at the disposal of 
the community. The positions of member of the Board of Directors, 
of the Executive Committee, and of Treasurer of this Association, are 
but a few of the positions in which he stood in an unselfish relation 
to his native city, in an effort to discharge what he conceived to be 


his duty in the development of Music and Art in the community in 
which he lived. 


ers 


“It is also with an acute sense of personal loss that this minute is 
ordered in the sincere hope that it may beguile those nearest and 
dearest to him from something of the grief af sO great a bereavement 
and also serve to perpetuate his memory in a community that has 
profited so much from his useful and unselfish citizenship.”’ 


* * * + * 


Mr. Thomas McKean, for many years Vice-president, was 
one of the officers who was always ready to assist in a 
financial crisis. Mr. Richard Y. Cook and Mr. Theodore N. 
_ Ely were especially devoted members of the Board, but all 
the membership should be included in this category. 

The social end, besides many others, has been taken care 
of by Mr. Van Rensselaer, who has constantly given enter- 


tainments. 
ev 


Of the many friends outside of the officers and directors, 
Mr. Philip H. Goepp has worked as hard as any man. From 
Igo1—1902 until 1920-1921 inclusive he was annotator of 
the programme and well fitted for the task, as he is a musi- 
cian, composer, and author of the series on ‘‘Symphonies 
and their Meaning,’’ authoritative works on this subject. 
He gave his time and his knowledge to the Association, at 
first without remuneration, so great was his enthusiasm 
over the continued development of the orchestra. Many 
days and nights through the years were devoted to the study 
of the works performed, and the Association is greatly in 


his debt. 
eS 


During the period of his leadership Mr. Stokowski has 
had various honors bestowed upon him. After the second 
performance of the Mahler Symphony he was presented 
with a bronze wreath; on the completion of ten years as 
conductor in 1922, by the Women’s Committees with a 
set of twelve silver plates, and witha silver tankard by the 
Association; the University of Pennsylvania conferred on 
him the Honorary degree of Doctor of Music in 1920; and 
in 1922 he was the first recipient of the Philadelphia Award 
of Ten Thousand Dollars. His appearances in Europe in 
January 1923, when as guest conductor he led orchestras in 
France and Italy were greeted with enthusiasm and with 
press notices of a laudatory nature. 


[ 158 ] 


e & 


Although it is a rented building, the Academy of Music 
is the only dwelling place the orchestra has known, and 
the auditorium with its architectural beauty and perfect 
acoustics is a marvelous place for orchestral concerts. Hav- 
ing been built in 1857, its traditions link the past with the 
present and cast a spell over the music. 

The present stage setting, which replaces the gift of the 
West Philadelphia Women’s Committee, is from the design 
of Mr. Huger Elliott, and was executed as a labor of love 
by the students of the Pennsylvania Museum and School of 
Industrial Art for the Association. 


e & 


A possession of the Association is the orchestral library 
that has gradually been accumulated. Beginning with the 
purchase, for $600.00, of the library of the Philadelphia 
Symphony Society and augmented in 1911 by Fritz Scheel’s 
collection, and by the constant addition of new works, it is 
now suited to the needs of the orchestra and valued as a 
great asset. It contains twelve hundred works with scores, 
and orchestral parts for one hundred and ten men, besides 
four hundred and thirty scores without orchestral parts. 


e @ 


Advantage is often taken of modern musical inventions. 
For some years much care has been given to the making of 
Victor Records, which are popular the country over. There 
is now a list of forty-six, all exceptionally good, and they 
have brought the orchestra many friends. Radio trans- 
mitters are not used at performances. The Board of Directors 
feels that it is unfair to patrons of the orchestra, who pay 
for tickets and take the trouble to attend the concerts in 
person, to broadcast the music throughout the country. 

Mr. Stokowski recently secured the rights for the first 
presentation of the new Hammond Pedal, invented by John 
Hays Hammond, Jr. The first public performance on the 
piano with this attachment was at the Philadelphia regular 
series of concerts, on October 30th and 31st, 1925, when 
Lester Donahue played the Rachmaninoff Second Concerto. 
The invention will also be used in Washington, New York 
City and on the Western tour. 


[159 ] 


e @ 


In looking back over the years, details come to mind. 
Much anxiety used to be felt about Saturday nights, as bad 
weather meant a poor audience and knocked the box office 
receipts. Now, the audience is anxious for fear of uncom- 
fortable delays on the steps during a storm, on account of 
the crowd. 

Another detail was the efforts that the women made long 
ago to brighten up the appearance of the Saturday evening 
house, by asking their friends in the boxes to wear gay 


clothes. ies 


The policy of the Philadelphia Orchestra Association has 
always been to sell tickets at moderate ae Tickets for the 
best seats for the first regular series of six concerts sold for 
$8.00. Students could buy tickets for the amphitheatre for 
$1.75 for fourteen rehearsals and $2.00 for fourteen concerts. 
The price of tickets has increased seventy per centand operat- 
ing expenses have increased five hundred per cent in twenty- 
five years, but considering this, the tickets are still moder- 
ate. A story is told by Mr. George T. Haley, of the Acad- 
emy of Music Ticket Office, loyal friend to the orchestra, 
of how as a young assistant agent he was in charge of the 
window on the first day of the first sale for the Philadel- 
phia Orchestra. He opened promptly at 8.30 a. m.; the first 
sale was about ten and the next about four in the afternoon. 
Now, his principal business in connection with the orches- 
tra is to placate the people who cannot get the seats they 
want or get any seats at all. 


e 


The Business Management of the Association has been 
since 1915 in the hands of Mr. Arthur Judson, whose ability 
and that of the Assistant Manager, Mr. Louis A. Mattson, 
is well known. Mr. Judson manages, likewise, the Phil- 
harmonic Orchestra of New York and the Cincinnati 
Orchestra. Mr. Mattson manages the summer concerts in 
Fairmount Park, for which a number of Philadelphia 
Orchestra men are engaged. The ease with which a large 
amount of business is conducted, and one in which there is 
much detail, is due to the organizing talents of Mr. Judson 
and to the devotion and long training of the office staff 


[ 160 | 


under him. The Association is fortunate in having a mana- 
ger of such rare business acumen, whose talents have devel- 
oped as necessity arose; until it is safe to say that there is no 
more ably managed musical organization in the country 
than this. To Mr. Mattson falls the task of distributing the 
seats, NO easy One in 1925, when there are almost none to 
dispose of. No mention of the business end of this enterprise 
would be complete without the names of Miss Ruth O’ Neill, 
Miss Elizabeth M. Russell and Miss Margaret E. Pringle, 
not to forget Mr. Stokowski’s private secretary, Miss 
McGinty, who eases the thorny business path of an artist. 


e 


Speaking of business, the Endowment Funds of the Asso- 
ciation were at first in the hands of three trustees but now 
are in the care of a Corporate Trustee, the Girard Trust 
Company. : 

But enough of details! Many forces have combined to 
make it possible to maintain an orchestra. 


Some years ago Peggy Shippen wrote: 


“This remarkable performance (Mahler Symphony), which attracted 
music connoisseurs from many cities, and which will remain a lasting 
credit to our town, was the result of a combination of forces patiently 
brought together by the will, power and genius of one man—Leopold 
Stokowsk1. * * * %* * 


‘Such triumphs of art scored in this city do more than all the 
advertising in the world to place Philadelphia in the lead of the great 
American centers. The Mayor has spoken of advertising this city; 
these things do this legitimately by adding to its opportunities. The 
sooner we realize that it is by honest work and the real thing well 
done that we can impose respect for our city and State, the better. 

* * * *K 


‘It is in the last decade or so that those interested have realized 
the necessity for ‘coming together.’ This policy seems to have been 
adopted since Alexander Van Rensselaer accepted the presidency of 
the Board of Directors. No one could be selected in this entire city 
better calculated to bring together the elements indispensable to the 
success of such an undertaking. Himself a musician, all his life 
identified with musical interests, he is one of the most widely popular 
meninthiscommunity. * * * * * 


‘““As the audiences grew and became critical, exacting a higher 
quality of music, Mr. Van Rensselaer and his board rose to the occa- 
sion and met the requirements of growth. 


Por | 


‘The Women’s Committee, besides developing the interest in the 
success of the orchestra, has helped with the Guarantee Fund, which, 
of course, is the pivot upon which turns the success of the under- 
taking. Without the backing of money, to pay for the best procurable 
talent, even the greatest genius is helpless to produce adequately a 
great work of art. 

“It was the combination of Mr. Van Rensselaer’s patient and 
broad policy, of the women’s inconspicuous but telling work of years 
upon the musical intelligence of the community, first under Mrs. A. J. 
Dallas Dixon’s direction and then under that of Miss Frances Wister, 
that provided the fertile ground upon which the genius of Mr. 
Stokowski brought out the almost superhuman result of last week. 

‘The same success will attend similar methods in other fields. The 
theory of ‘splendid isolation’ does not apply to our epoch.’’ 


e & 


The Philippine Concerts which occurred on March 29th 
and April 5th, 1900; and which were the forerunners of the 
Philadelphia Orchestra, were commemorated at the con- 
certs of March 27th and 29th and April 3rd and 4th,1925, 
by a notice in the programme and by the playing of certain 
numbers played at those concerts. They marked the first 
appearance of Fritz Scheel with an orchestra of profes- 
sional musicians in Philadelphia. 

The Twenty-fifth Anniversary of the first concert on 
November 16th, 1900, is being celebrated at the concerts 
of November 13th and 14th, 1925, by simple ceremonies 
and a repetition of the first programme. It is a long way 
from the total of seven concerts in 1900, to the one hun- 
dred and five concerts arranged for this season. The road 
has been discouraging and difficult, but the twenty-fifth 
anniversary is a cause for rejoicing to all lovers of the 
Philadelphia Orchestra. 

Little did the small group of men in 1900 dream that the 
orchestra they founded would twenty-five years later be 
known throughout America and Europe. 

The ‘‘Road One Hundred and Fifty Years Long”’ has been 
worth traveling to Philadelphians, to reach the present 
milestone in the symphonic succession, so far the most 
important achievement in the city’s musical history. If 
Baedeker were to write a ‘‘Guide to Music in America”’ he 
would put three stars against the Philadelphia Orchestra. 


[ 162 | 


CHAPTER X 
Tuer Point oF THE STORY 


“Time Was unlocks the riddle of Time Is. 
That offers choice of glory or of gloom: 
The solver makes Time Shall Be surely his.”’ 


The point of the story is the music that the Philadelphia 
Orchestra makes. It would be a tragedy if after twenty-five 
years anyone could ask ‘‘Why?’’ A tragedy for the officers 
and directors, for the Women’s Committees, and for the 
reader and writer of this book. For the musicians and for 
Leopold Stokowski it would be more than a tragedy, the 
object of life would cease to exist. 

Beginning in 1912 the musical record becomes more and 
more interesting. The leader has poured out his talents for 
Philadelphia and the feast has been lavish. Programme after 
programme of the works of the great, interpreted by the 
brain of Leopold Stokowski have enthralled his audiences. 
Only a few special selections and occasions can be men- 
tioned, but a perusal of the programmes for thirteen years 
shows that the average of Philadelphia Orchestra concerts 
is far above the usual average, for he is a master maker of 
programmes. 

1912-13: Gustav Strube, “‘Puck’’; Herman Sandby, Pre- 
lude to Act IV ‘‘The Vikings of Helgenland’’; Edward Elgar, 
Symphony No. 1; Guiseppe Martucci, Symphony No. 1; 
Sigismund Noszkowski, “‘Die Steppen’’; Richard Strauss, 
‘‘Liesbes Scene’ from ‘‘Feursnot,’’ ‘‘Salome’s Tanz’’; Henri 
Rabaud, Symphony No. 2**; Ernest Schelling, “‘Légende 
Symphonic. ’’** 

1913-14: Hans Erich Pfitzner, ‘“‘Kathchen von Heil- 
bronn, overture; Fernandez Arbos, ‘Guajiras,’’** violin and 
orchestra; Florent Schmitt, ‘‘Rapsodie Viennoise’’**; Al- 
bert Roussel, Evocation No. 2 ‘‘La Ville Rose’’**; Henry 
Hadley, Symphony, ‘‘North, East, South and West’’; Erich 
Korngold, ‘‘Schauspiel’’ Overture; Otto Mueller, member 





**First performance in America. 


[ 163 | 


Philadelphia Orchestra, ‘‘Dramatic Overture’; Henry A. 
Lang*, Symphony “‘Fantastes of a Poet’’; Beethoven, Ninth 
Symphony with Chorus. 

1914-15: Jan Sibelius, ‘‘Finlandia’’; Bach, triple concerto, 
piano, violin and flute; Paderewski, Symphony B minor™*, 
Special Concerts for the Benefit of the Pension Fund; Men- 
delssohn, ‘‘Lobgesang Symphony’’ with soloists and six- 
teen Choral Societies; Wagner Programme. Frederick Stock, 
Symphony C minor; Feruccio Busont, Indian Fantasy, piano 
and orchestra**; Sandby, Suite from ““‘The Woman and 
the Fiddler’; Mrs. H. H. A. Beach, Symphony ‘Gaelic’; 
Georges Enesco, ‘‘Roumanian Rhapsody.’ 


1915-16: Gustav Strube, “Variations on an Original 
Theme; Camille Zeckwer*, Symphonic Poem, ‘‘Sohrab and 
Rustum’’ (conducted by composer); Enrique Granados, 
Intermezzo and Epilogue from Goyescas; Gustav Mahler, 
Eighth Symphony for orchestra soli and chorus;** Strauss 
‘‘Alpensymphonie.’’** 

1916-17: Frederick A. Stock: Violin Concerto, D minor; 
Arne Oldberg ‘‘June’’ (conducted by composer); Gustav 
Mahler, ‘‘Das Lied von der Erde,’’** symphony for soli 
voices and orchestra; Max Bruch, Concerto for two pianos 
written for Rose and Ottilie Sutro Cfirst world perform- 
ance); Michel Dvorsky, ‘‘Chromaticon’’ piano and orches- 
tra, Josef Hofmann, pia Debussy, ““The Blessed Dam- 
osel’’ after Rosetti for soprano and Chorus of Women; 
Schelling, ‘‘Impressions,’’ variations for piano and orches- 
tra, composer at the piano; Liszt; Eine Faust Symphonie, 
orchestra, tenor and bass soli and chorus; Bach, Matthdus 
Passion, orchestra, soli, Philadelphia Orchestra Chorus, 
Chorus of Girls from Philadelphia Normal School and 
Girls’ High School. 

1917-18: American Programme, Edgar Stillman Kelley 
Symphony ‘‘New England,’’ compositions by Philip H. — 
Goepp, Arthur Foote; Skryabin, ““‘Poéme de |’Extase’’; 
Beethoven, Three Equali for four Trombones; Bach, Con- 
certo, three pianos and orchestra, Mme. Olga Samaroff, 
Bauer, Gabrilowitsch; Sinding, Symphony; Ernest Chaus- 
son, ‘‘Poéme’’ violin and orchestra, Thaddeus Rich, violin- 





*Philadelphian. 
**First performance in America. 


[ 164 | 


ist; Bloch Programme, concert conducted by composer; 
Selim Palmgren concerto ‘“The River,’’ piano and orchestra. 

1918-19: MacDowell “‘Indian Suite’’ dirge in memory 
of fallen Americans; Dvorsky, ‘‘The Haunted Castle’’; De- 
bussy ‘‘Sirenes,’’ orchestra and women’s voices; Lorenziti, 
Suite for Viole d’Amour, Henri Casadesus, soloist; Rach- 
maninoff, Air for a Choir of Solo Violins with orchestra; 
Programme of four American composers, Frederic S. Con- 
verse, H. Clough-Leiter, John Alden Carpenter, Cecil For- 
syth; Leo Ornstein, piano soli, composer at the piano; Chad- 
wick, “Tam o’Shanter’’; Ernest Bloch, Symphony No. 1; 
Louis Garnier, ‘‘Vision’’ Poéme for Orchestra. 

1919-20: Beethoven, Choral Fantasy in C minor, piano, 
orchestra and chorus, Mme. Samaroff, pianist; Malipiero, 
‘Pause del Silenzio’’; Loeffler “‘A Pagan Poem’’ for Orches- 
tra, with piano, English horn and three trumpets obligato, 
Bauer pianist; Charles T. Griffes, four compositions for 
orchestra; Rachmaninoff, Concerto No.3, piano and orches- 
tra, composer at the piano; Symphony “The Bells’’** (after 
Poe), orchestra solo voices and Philadelphia Orchestra 
Chorus; Lorenziti, Concerto for Viole d'Amour, double 
bass and orchestra, Thaddeus Rich and Anton Torello, 
soloists; Weber, Concertino in F for bassoon and orchestra, 
Richard Krueger, soloist; André Maquarre, two composi- 
tions for orchestra; Mozart Opus 30, arranged as a Concerto 
for oboe and small orchestra, Marcel Tabuteau, soloist; 
Beethoven, Ninth Symphony, Philadelphia Orchestra 
Chorus, marking Ninety-sixth Anniversary of first per- 
formance, 1824. 

1920-21: Leo Sowerby “‘Comes Autumn Time’; J. Guy 
Ropartz, Symphony No. 4; Cyril Scott, concerto piano and 
orchestra, composer at the piano; John Alden Carpenter *'A 
Pilgrim Vision’’ to mark Tercentenary of Landing of the 
Mayflower; Beethoven, Ninth Symphony with Philadelphia 
Orchestra Chorus; Brahms; double concerto violin and 
cello, Rich and Penha, soloists; Brahms, ‘“‘Requiem,’’ 
soprano and baritone soli, chorus and orchestra; Gilchrist*, 
Symphonic Poem, unveiling of Gilchrist memorial; Mah- 
ler, Symphony No. 2, for orchestra, chorus and solo soprano 
and contralto. 





*Philadelphian. 
**First performance in America. 


[ 165 ] 


1921-22: Sibelius, Symphony No. 5**; Alfredo Casello, 
“Pages of War’’ for orchestra; Gregor Fitelberg, Polish 
Rhapsody**; Bloch, Suite for viola and orchestra; Schoen- 
berg, Five Orchestra Pieces; Vincent d’ Indy ‘‘Poéme des 
Rivages,’’ d’Indy, guest conductor (first performed on pres- 
ent tour); Bach Passacaglia, orchestrated by Leopold 
Stokowski (first time); Strawinsky ‘‘Sacre du Printemps’ ’**; 
Manuel de Falla, excerpts from ‘“‘E] Amor Brujo’’**; Otto 
Mueller, Carnival Overture ‘‘Schlaraffiada.”’ 


1922-23: Debussy ‘‘La Cour des Lys’’; Ravel, ‘‘La Valse 
Choreographic,’’ Poem for Orchestra; Strawinsky, ‘‘Feuer- 
werk’’; Franck Centenary, Symphony D minor. The orches- 
tra was engaged by Dr. Richard Strauss for four New York 
concerts of his own works exclusively. Dr. Strauss also con- 
ducted one in Philadelphia. 

1922-1923: Camille Zeckwer, ‘‘Jade Butterflies’’; Straw- 
insky, ‘“Trois Poésies de la Lyrique Japonaise’’; Enesco, 
shia aes F flat, Roumanian Rhapsody, Enesco, guest 
conductor; Brahms, concerto for violin, Enesco, violinist; 
January 26th and 27th, 1923, compositions by Milhaud, 
Poulenc, Auric, Satie; Schelling, “A Victory Ball’; Pick- 
Mangiagali, ‘‘Sortilegi,’’ Symphonic Poem, piano and or- 
chestra; D. G..Mason, Prelude and Fugue, piano and orches- 
tra; Henry Eichheim, Oriental Impressions for Orchestra; 
Schoenberg, ‘‘Kammersymphonie’’. 

1923-24: Strawinsky, ‘‘Chant du Rossignol’ ’**; Bachcon- 
certo for harpsichord; Handel, concerto for harpsichord, 
Wanda Landowska, soloist; Strawinsky, ‘‘“Symphonied’ In- 
struments a Vent’’**; Josef Hofmann, compositions for 
piano and’ orchestra, East and West, Caliedescope, the 
Haunted Castle, ‘“Chromaticon’’ (Dvorsky); Ottorino Re- 
spighi, ‘“‘Sinfonia Drammatica’’; Deems Taylor, Suite 
‘Through the Looking Glass’’; compositions by Magnard, 
Jean-Jules-Amable Roger-Ducasse; Hand Krasa;Strawinsky, 
‘Renard,’ burlesque for Chamber Orchestra, two tenors, 
two basses; Beethoven, Ninth Symphony with Toronto 
Choir. 

1924-25: Nicholas Medtner, piano concerto, composer at 
piano; Edgar Varese, ‘‘Hyperprisms’’; Paul Hindemuth, 
Nusch-Nuschi Dances; Karl Szymsanowski, violin con- 


**First performance in America. 


[ 166 | 


certo**; Kurt Atterberg, Symphony No. 2; Henry Joslyn, 
War Dance from Suite, ‘‘Native Moments’’; Strawinsky 
Bros cue, Strawinsky guest conductor; Prokokieff, Suite 

cythe, “Ala and Lolli’; Arthur Bliss, ‘“Mélée Fantasque’’; 
Germaine Taillefer, Concerto** for piano and orchestra; 
Isaac Albeniz, ‘‘Féte Dieu a Séville’’; Edward Burlingame 
Hill, Arthur Bliss, compositions for two pianos and 
orchestra. 

It must not be supposed from the above that the usual 
standard works are not performed. The list is given to show 
the wide musical range to which Philadelphians are treated. 
Nomention has been madeof the many Wagner and Tschai- 
kowsky programmes that have been presented. They have 
occurred every year and are always a delight. 

It is a pleasure to mention the principal players in the 
orchestra, who are not generally known personally by the 
audience. It is a case of “‘by their voices you shall know 
them,’ and their voices enthrall the listeners week by 
week. First comes Dr. Thaddeus Rich, most popular of 
concertmasters and an assistant conductor of no mean 
attainments, who is sometimes called to take the conductor’ s 
place at the last minute, where he acquits himself with 
honors. As we look farther there are: David Dubinsky, 
first second violin; Samuel Lifschey, first viola; Hanns 
Pick, violoncello; W. M. Kincaid, flute; Marcel Tabuteau, 
Oboe; Daniel Bonade, clarinet; Anton Horner, horn; 
Walter Guetter, bassoon; Sol. Cohen, trumpet; Gardell 
Simons, Paul P. Lotz, C. E. Gerhard, trombones; Philip 
A. Donatelli, tuba; Anton Torello, bass; Vincent Fanelli, 
Jr., harp; and last but not least, Oscar Schwar, tympani. 
These players all possess the requisites, which seem to be 
ability to play and ability to obey, for the response of their 
wills to the will of the leader is what makes success in an 
orchestra. One noticeable feature about the musicians is 
their youth; this is patent to the eye, and to the ear, from 
the virility of their performance. 

To those who do not see farther than the Academy stage, 
it would be useless to explain that the conductor’s activi- 
ties are not confined to stepping briskly onto the platform 
and leading concerts. People who have given the matter 
thought must know that he is working all the year round 





- **First performance in America. 


[ 167 | 


for the Philadelphia Orchestra. The rehearsals are very 
exacting and the players are wonderfully prepared. Con- 
ducting a concert means a physical, mental and emotional 
strain which is only understood by those who have seen 
the conductor as he comes off the stage. Leading without a 
score requires perfect concentration. Painstaking effort and 
patience on the part of Mr. Stokowski bring their reward in 
the finish of the performance, but it looks so easy! And 
therein is shown his skill. Next there is the constant search 
for new works and the mastering of them before rehearsals 
can begin. Much time is occupied in hearing and selecting 
players, for no stone is left unturned to find the best artists 
for each position. The mail is also a subject of importance, 
as correspondence is kept up with individuals and pub- 
lishers and then there are letters of complaint or approval, 
all to be answered. The conductor is a busy man, whose 
brain never stops working, planning, devising for the 
orchestra. 

Leopold Stokowski’s musical gifts are of a nature dif- 
ficult to describe. What thrills come to one at the remem- 
brance of certain moments, the first hearing of the Bach 
‘‘Passacaglia,’’ the ‘‘Prelude and Liebestod’’ from Tristan, 
the symphonies of Brahms, Schubert and Tschaikowsky, 
Mahler’s Eighth, where the chorus ‘‘Alles Vergangliches 
ist nur ein Gleichniss’’ soars aloft, Beethoven's Seventh, and 
the Ninth with the Mendelssohn Choir of Toronto. But 
why mention special moments? The audiences have come 
to expect every concert to be a “‘special moment.”’ 

Philadelphia is to be congratulated that the orchestra 
bearing its name is in the hands of Leopold Stokowsk1i, 
master musician. It is constantly advancing. When one 
peak on the climb is reached, the clouds roll away and 
another comes into view. Let no man speak its doom by 
proclaiming that the summit of Parnassus has been reached 
by the Philadelphia Orchestra. 


e 


The name of Alexander Van Rensselaer, Esq., appears on 
the first page of this book. It is fitting that it should also 
appear on the last, for the president’s activities encircle the 
orchestra. Many records of his deeds appear in the annals 
of the Association, and many more are engraved in the 


[ 168 ] 


hearts of his fellow-workers and fellow-townsmen. He 
is the only person, however, who knows what sacrifices 
his devotion has entailed. For although a president may 
appear to enjoy more sunshine than other individuals, he 
also bears the shock of all the storms. The responsibility 
of such a post for twenty-five unbroken years is a heavy 
burden for a man to bear. To say that he has borne it 
and continued to hold the respect and affection of Phila- 
delphians is the finest tribute that could be paid him. 

The story told in this book has been made possible by 
the president of the Philadelphia Orchestra Association. 


In MEMORIAM 


THEODORE [THOMAS 
Born Ocroser 11, 1835; Diep JANUARY 4, 1905 


‘“The death of the pioneer of American music, and a veritable Titan of 
Conductors, Theos Thomas, brings consternation to the world of 
music, as this great man stood for all that is pure and noble in his art. 
An event so calamitous, and peculiarly significant here in Philadelphia, 
where he was well known and beloved, devolves upon me the sad duty 
of giving an orchestral expression of our deep grief. While it is true that 
an all-wise Providence saw fit to remove pes the field of action one 
who had probably reached the apogee of his power and influence, yet 
keen regret must of necessity be experienced, an emotion best expressed 
through the medium that the great Thomas made his own—the 
orchestra. Therefore, I deem it wise to change the programme for the 
Seventh Concert, selecting such numbers as, in a sense, may be regarded 
as a mortuary mass. In agreement with this idea, which I am sure my 
supporters will endorse, I have made the following changes, substi- 
tuting such numbers that, were the lips now silat in death able to 
articulate, they would, I trust, unreservedly approve. 


Fritz SCHEEL 


Conductor of the Philadelphia Orchestra.” 
Philadelphia, January 6, 1905. 


PROGRAMME 
1. RicHARD WAGNER 
Siegfried’s Death from ‘‘Die Goetterdaemmerung ’ 


2. WotrGanc AmapgEus MozarT.............-- Symphony, G minor 


I. Allegro Molto 4/4 III. Menuetto: Allegro 3/4 
II. Andante 6/8 IV. Finale: Allegro Assai 4/4 


3. Juves pe SwerT........ Concerto for Violoncello and Orchestra, 
No. 2, in C minor, Op. 38 


Allegro moderato—Espressivo, 4/4 
ALFRED SAAL 


4. RicHarp STRAuss......... Serenade, Opus 7, Andante, E flat major 


For 2 Flutes, 2 Oboes, 2 Clarinets, 4 Horns, 
2 Bassoons, and Contra Bassoon 


5. Lupwic von BEETHOVEN...... Overture, ‘“‘Leonore No. 3,'' Op. 72 


PROGRAMME OF CEREMONIES 


Fritz SCHEEL MEMORIAL 
Academy of Music 


Wednesday, March Eleventh 
Nineteen Hundred and Eight 
at Three o’Clock 


In Memoriam 


Fritz SCHEEL 
Born Lisscx, 1852; Diep PHILADELPHIA, 1907 


(ENE Vorspiel ‘‘Parsifal’’ 
Address 
Mr. Owen WIsTER 
RICHARD STRAUSS........4....-655 Tone Poem ‘Tod und Verklarung’’ 
PUBIUOVEN? 2 02.5 .20044.5.-. Funeral March from Eroica Symphony 


Dr. S. Werr MiTcHELL 
January 9-10, 1914 


BEETHOVEN...... Slow Movement from Symphony No. 7, in A major 
THeEopore N. Ey 


November 3-4, 1916 


REELS NOE etre joy yu 2 a ae Eroica Symphony Marcia Funebre 
Haroip Exuis YARNALL 
April 7-8, 1917 


DE een ec cit 5 ie te a “Dirge’’ from Indian Suite 


Tribute to the memory of our soldiers and sailors who 
have fallen in the war 
November 15-16, 1918 


COINS ho 2 Eroica Symphony Marche Funébre 
THEODORE RoosEVELT 


January 17-18, 1919 


“RESOLUTION PasseD AT MEETING oF Boarp oF D1REcToRs, 
NovemMBeER 26th, 1919 | 

““Wuerzas, the Directors of the Philadelphia Orchestra Association 
note with deep sorrow the death of Major Henry Lee Higginson, 

‘And Wuerzas, they recognize that by his death the cause of good 
music throughout the country has sustained an irreparable loss, 

‘And Wugrgas, they recognize their own deep debt of gratitude to 
him for his pioneer work in the said cause of music, 


[i71] 


“Be Ir Resotvep that they place on record their very real sense of 
this great loss and their feeling of sympathy in it not only with the 
members of his family, but with every officer and member of the Boston 
Symphony Orchestra Association. 

‘It is further ordered that the Secretary of the Philadelphia Orchestra 
Association transmit a copy of this resolution to Mrs. Higginson and 
to the officers and members of the Boston Symphony Association. 


‘The Dirge from MacDowell’s ‘Indian Suite’ 
will be played 


In Memory 
of 
The Founder of the Boston Symphony Orchestra 


Major Henry Ler HicGinson 
November 18, 1834—November 14, 1919 


November 28-29, 1919 


SCHUBERT a pire b sia gl nh eer nee amen ee Unfinished Symphony, Andante 


GrorGE W. ELxKINs 
December 5-6, 1919 


WAGNRRE hela Funeral March from ‘“The Twilight of the Gods’ 
Mrs. ALEXANDER J. CAssATT 
January 23-24, 1920 


Resolution passed by the Women’s Committee, January 20th, 1920. 


Mrs. ALEXANDER J]. CassATT 


‘“Mrs. Cassatt was associated with the Women’s Committee for the 
Philadelphia Orchestra, as an Honorary Vice-president, at the time of 
its organization in 1904; in 1909 she was elected to the Board of Mana- 
gers, and in 1914 became a Vice-president, which position she held 
until her death on January 9th, 1920. She was Chairman of the Nom1- 
nating Committee for many years and conducted its affairs with dis- 
cretion and ability. She was also Chairman of a Committee, which dur- 
ing the winter of 1912 devoted much time and thought to the revision 
of the By-laws. 

“Mrs. Cassatt gave her support to the cause of an orchestra for 
Philadelphia, however, before the Philadelphia Orchestra was organ- 
ized as such, and before the Women’s Committee had a reason for exist- 
ing. In the spring of 1900, she organized a committee of women which 
carried through the two so-called Philippine Concerts and gave Fritz 
Scheel his first opportunity to SPR in Philadelphia as a conductor 
of an orchestra composed of professional musicians; as a direct result 
the Philadelphia Orchestra was organized in the fall of that year. 


[ 172 ] 


“In spite of failing health and physical suffering, Mrs. Cassatt’s 
interest in the welfare of this Committee and the orchestra never 
flagged; her wise counsel was freely given, and her gracious presence 
was always an inspiration. She gave to this Committee the benefit of 
her wide knowledge of people and affairs, and for this we have a deep 
sense of gratitude. 

“Her last public appearance was at the Philadelphia Orchestra 
Endowment Fund Campaign Luncheon on November 6th, 1919, on 
which occasion she presented the gift of one thousand dollars to the 
Endowment Fund from the Women’s Committee as a tribute to its 
President, Miss Frances A. Wister. 

“The influence of her loyalty will remain a rich heritage for the 
Women’s Committee for the Philadelphia Orchestra. 

‘“THEREFORE, Bz It 

““ResoLveD, That we, the members of the Women’s Committee for 
the Philadelphia Orchestra, hereby express our affection and respect for 
Mrs. Cassatt, and our grief and sense of irreparable loss at her death. 

“Br Ir Atso Resotvep, That we record our appreciation of Mrs. 
Cassatt’s interest in the affairs of this Committee, of her work for the 
Philadelphia Orchestra, and of her distinguished qualities of Jeader- 
ship. We are profoundly touched by the fact that Mrs. Cassatt’s last 
public appearance was in our behalf, and are mindful of the privilege 
that has been ours in working with her for the cause of music in 
Philadelphia. 

‘Bg Ir Atso Resotvep, That this resolution together with the pre- 
amble be spread upon the minutes and that copies be sent to Mrs. 
Cassatt’s family as an expression of our deep sympathy in their loss. 


Committee on Resolutions 


(Signed) Frances ANNE WisTER, Chairman 
ADELE G. YARNALL 
Mrs. Srmon B. FLEISHER 
SALLIE Houston HENRY 
January 20th, 1920. EuizasetH H. ARNETT”’ 


NE, Goetterdaemmerung Funeral March 
Cuares A. Braun 
October 27-28, 1922. 


“USS a LG, | Symphony No. 7, Slow Movement 
Epwarp G. McCotiin 


November 30, December 1, 1923. 


SED ea el i ar Funeral March from Gotterdimmerung 
Wooprow WILson 
February 8-9, 1924. 


RL en oe a ain clstaytt nicely swe Vel tena Ou Funeral March 
Mrs. ALEXANDER J. Datias Dixon 


October 16-17, 1925. 
[173 ] 


Mrs. ALEXANDER J. Datias Dixon 
““Di1ED SEPTEMBER 20, 1925 


*“RESOLUTION PassED BY THE PHILADELPHIA 
OrcHEstTRA ASSOCIATION 


‘The officers and members of the Administration Committee of The 
Philadelphia Orchestra Association have learned with deep sorrow of 
the death of Mrs. Alexander J. Dallas Dixon, who had been a member 
of the Board of Directors of the Orchestra Association since its very 
beginning, as well as first President of the Women’s Committee for The 
Philadelphia Orchestra. Her charming personality, sweet disposition 
and wise judgment combined to make her endeared and respected by 
all her associates. 

‘In her death we have lost a true and devoted friend of music and a 
lady with whom it was a pleasure to be associated. 


‘*THE WoMEN’s COMMITTEE FOR THE PHILADELPHIA 
ORCHESTRA 


‘‘Mrs. ALEXANDER J. Datias Dixon 


“Mrs. Alexander J. Dallas Dixon, the first President of this com- 
mittee, who died on September 20, 1925, was for several reasons espe- 
cially dear to our members. 

“Captains of ships who take the helm for voyages over uncharted 
seas, or leaders of expeditions across unknown continents who bring 
such undertakings to successful ends, receive the honor of their com- 
trades. How much more should we treasure the memory of a pioneer 
leader, whose enterprise was so skillfully planned that the work for a 
noble purpose has been able to continue during twenty-one years. 

“Long before Mrs. Dixon entered upon the difficult position of 
President of this committee, however, she was a force in the musical 
life of the city. As an amateur pianist and singer, and as a member of 
the Eurydice Chorus and of the Melody Club, she was a well-known 
and important figure among the devotees of this enchanting art. 

“Mrs. Dixon taught the committee many lessons, although some of 
us were unaware of this fact at the time, and probably she was herself. 
Behind a delightful simplicity of manner there lay courage, patience, 
ability, firmness of purpose in an unpopular cause and a shining soul. 
Therefore, personally and officially, Mrs. Dixon was the greatest orna- 
ment that the committee has possessed and the most beloved officer. 
It is especially distressing to us to lose her from our midst at a time when 
all friends of the Philedetshis Orchestra are rejoicing in the Twenty- 
fifth Anniversary of the first concert, which is to be celebrated in 
November. So devoted a member of the Board of Directors of The 
Philadelphia Orchestra Association will be much missed on that 
occasion. 

‘It may be well said, ‘Her ways were ways of pleasantness and her 
aths were paths of peace,’ for, led by her, the Women’s Committee for 
he Philadelphia Orchestra has wended its steps along the same road. 

Our gratitude will endure while the committee continues to exist. 


[ 174 ] 


‘A committee composed of the officers has been appointed to present 
a resolution for action at this special meeting of the Women’s Com- 
mittee for The Philadelphia Orchestra. 


RESOLUTION 
“‘Mrs. ALEXANDER J. Datitas Dixon 


‘First President of the Women’s Committee for 
The Philadelphia Orchestra—1904-1912 
“Mrs. Alexander J. Dallas Dixon was the first President of the 
Women’s Committee for The Philadelphia Orchestra, which was 
organized at her house on March 11, 1904. Until 1912 she continued as 
its presiding officer and during these years she held the esteem and affec- 
tion of the members of the committee and administered its affairs with 


wisdom, justice and a broad vision. 


‘Therefore, be it Resolved: 

‘‘That we, the officers and members of the Women’s Committee, 
desire to record our deep sense of loss in the death of a beloved former 
President and late Honorary Vice-President, and to express our appre- 
ciation of her fearless initiative, her unfailing good judgment, her 
gentle but firm character, her wise leadership. 


“Be it also Resolved: 
‘That this resolution be spread upon the minutes and that a copy be 
sent to her husband. 
CoMMITTEE 
‘*Frances ANNE WISTER, President 
ADELE G. YARNALL, Vice-president 
SaLutizg Houston Henry, Vice-president 
HELEN WarREN ALLEN, Treasurer 
‘Evizasetu H. Arnett, Corresponding Secretary 
Marcaret S. Woon, Recording Secretary’’ 


October 8, 1925. 


Crs) 








he ; 
r+ 
* 
, 
’ 
, 
» 


APPENDIX A 


CHARTER 
OF 
THe PHILADELPHIA ORCHESTRA ASSOCIATION 


(Adopted November 1, 1902) 


The subscribers hereto, all of whom are citizens of the Commonwealth 
of Pennsylvania, have associated themselves together for the purpose 
herein below set forth and being desirous of becoming incorporated 
agreeably to the provisions of the Act of the General Assembly of the 
Commonwealth of Pennsylvania, entitled, ‘‘An Act to provide for the 
incorporation and regulation of certain corporations,’’ approved the 
twenty-ninth day of April in the year of our Lord one thousand eight 
hundred and seventy-four, and the supplements thereto, do hereby 
declare, set forth and certify that the following are the purposes, objects, 
articles and conditions of their said Association for tak upon which 
they desire to be incorporated. 


Artictze 1.—The name of the corporation shall be The Philadelphia 
Orchestra Association. 

ARTICLE 2.—Its object 1s to encourage the performance of first-class 
orchestral music in the City of Philadelphia and for that purpose to 
establish and maintain The Philadelphia Orchestra. 

ArtIcLE 3.—The place in which the business of the said corporation 
is to be transacted is the City of Philadelphia. 

ArticLe 4.—The said corporation is to exist perpetually. 

ArtIcLE 5.—The said corporation shall have no capital stock. 

ArticLe 6.—The number of Directors of the said corporation shall be 
twenty-four, and the names and residences of those who are chosen for 
the first year are as follows: 


Name Residence 
GEORGE BURNHAM; JRS.)). 4 05 0 ee Philadelphia, Pa. 
AL Js CAssATT ele i on (oe nr Philadelphia, Pa. 
Josn H. Converse, 6302/0 ¥0- Philadelphia, Pa. 
Ecxruy B. Coxe; [Rit oo oe Philadelphia, Pa. 
Wir11aM L. ELKINS.» 2.000. ort) see Elkins, Pa. 
Miss Mary K. Grpson:,.. 07), See Philadelphia, Pa. 
CLEMENT A. GRISCOM. ) 4... ices ee Philadelphia, Pa. 
Mus. Atrrep G. Harrison...) .) eee Philadelphia, Pa. 
Jon HL INGHAM ei. 04 i Philadelphia, Pa. 
Oxiver B: JuDsON.: . .)5) eo oe Philadelphia, Pa. 
EpwaArRbD.L. KRFFER 3). 020). 3 ae Philadelphia, Pa. 
C, HARTMAN KRUBN soo). 5 oes pe Philadelphia, Pa. 
Epwarp Gi McCoruin. 1005.5 09 eee Philadelphia, Pa. 
[178 ] 


Name Residence 


BUI IORIEENG oA ee cae, Philadelphia, Pa. 
PeCEMENT GeINEWBOLD.:.....5-..02.-000-- Philadelphia, Pa. 
eG [EG sd er Philadelphia, Pa. 
Mrs. Franx H. Ros—ENGARTEN............. Philadelphia, Pa. 
ea ARI PSMASSIUR sce ce ec oe ee ...Philadelphia, Pa. 
DUES 98 S.C (10 pS a Philadelphia, Pa. 
let TERN A eo Philadelphia, Pa. 
PRORPUNTOMSON, £. 0006 se ves eee back Merion, Pa. 
ALEXANDER VAN RENSSELAER............... Philadelphia, Pa. 
i | Philadelphia, Pa. 
Pe IGONER oc secs cha we weecs Ashbourne, Pa. 


Witness the hands and seals of the subscribers this first day of Novem- 
ber, in the year of our Lord one thousand nine hundred and two (1902): 


A. Van RENSSELAER (L.S.) 
Ae GASATTOl.S | 
Geo. F. Bazr (L.8.) 
Henry WHELEN, Jr. (L.S.) 
Joun H. Converss (L.S.) 
C. Hartman Kuun (LS. ) 
Geo. BurnuaM, Jr. (L.S.) 
Epwp. G. McCo tun (L.S.) 
CLEMENT B. Newso rp (LS. ) 
Jas. W. Paut, |r: CL.S.) 
Joun H. IncuHam (L.S.) 
E. I. Kerrsr (LS. ) 

State of Pennsylvania 


City and County of Philadelphia 


Before me, the Recorder of Deeds for the County of Philadelphia, on 
this twenty-first day of November A. D. 1902, personally appeared 
Henry Whelen, Jr., John H. Ingham and Edward I. Keffer, three of the 
subscribers to the foregoing certificate of incorporation and duly 
acknowledged the same to be their act and deed, and desired that the 
same might be recorded as such, 


Witness my hand and official seal the day and year aforesaid. 
Jos. K. Frescuer, Deputy Recorder of Deeds (L.S.) 


DECREE 


In the Court of Common Pleas No. 4, of the County of Philadelphia of 

December Term 1902, N. 845. 

And now this fifth day of January, A. D. 1903, the within Charter and 
Certificate of Incorporation having been presented to me, a Law Judge 
of said County, accompanied by due proof of publication of the notice 
of this application as required by the Act of Assembly and rule of this 
Court in such case made and provided, I certify that I have examined 
and perused the said writing, and have found the same to be in proper 
form and within the purposes named in the first class specified 1n Sec- 


[179 ] 


tion Second of the Act of General Assembly of the Commonwealth of 
Pennsylvania, entitled “‘An Act to provide for the Incorporation and 
Regulation of Certain Corporations,’’ approved April 29th, 1874, and 
the supplements thereto, and the same appearing to be lawful and not 
injurious to the community, I do hereby on motion of Edward G. 
McCollin and John G. Johnson, Esquires, on behalf of the petitioners, 
order and direct that the said Charter of The Philadelphia Orchestra 
Association, aforesaid be and is the same hereby approved, and that 
upon the recording of the same and of this order, the subscribers 
thereto and their associates shall be a corporation by the name of The 
Philadelphia Orchestra Association, for the purposes and upon the 
terms therein stated. 
Rosert N. Wittson, Judge. 


Filed in the office of the Prothonotary of the Court of Common Pleas 
No. 4as of December Term 1902 No. 845, on the Fourth day of Decem- 
ber A. D. 1902. 

C. B. Roserts, Deputy Prothonotary. 


Recorded in the office for recording Deeds etc. in and for the County 
of Philadelphia in Charter Book No. 28, page §3 etc. 


Witness my hand and seal of office this seventh day of January A. D. 


1903. 
Wo. S. Varg, Recorder of Deeds (L.S.). 


APPENDIX B 


ExEcuTIVE COMMITTEE OF THE PHILADELPHIA ORCHESTRA ELECTED AT 
THE OrpHEus Cius Rooms, May, 1900 


Henry WHELEN, Jr. 

Joun C. Sims 

Epwarp G. McCotuin 
Oscar A. KNIPE 

Epwarop I. KErFer 

OtiveErR Boyce JupsoN 
Joun H. IncHam, Secretary. 


[ 180 | 


APPENDIX C 


OFFICERS AND DIRECTORS OF THE PHILADELPHIA 
OrcHESTRA ASSOCIATION 
1900-1925 


I9OI-1902 

OFFICERS 
ALEXANDER VAN RENSSELAER, President 
PF. T. Sutty Darzey, Vice-president 
Joun H. Incuam, Secretary 
Henry WHELEN, Jr., Treasurer 


DIRECTORS 


A. J. Cassatt 

Joun H. Converse 
Ecxtzy B. Coxe, Jr. 
F. T. Surry DarLey 
WiLL1AM L. ELKINs 
Miss Mary K. Gipson 
CLEMENT A. GrRIScOM 
Mrs. ALFRED C. Harrison 
Joun H. INGHAM 
Otiver B. Jupson 
Epwarp I. KEerrer 


Oscar A. KNIPE 


1902-1903 


C. Hartman KuHN 
Epwarp G. McCo.uin 
Tuomas McKzan, JR. 
CLEMENT B. NEwsoLp 
James W. Paut, Jr. 

Mrs. Frank H. RosENGARTEN 
EpcGar ScotTr 

Simon A. STERN 

Miss ANNE THOMSON 
ALEXANDER VAN RENSSELAER 
Henry WHELEN, JR. 


P. A. B. WipENER 


OFFICERS 
ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
Joun H. INncHam, Secretary 
Henry WHELEN, Jr., Treasurer 


DIRECTORS 


GrorGE BurnuaM, Jr. 
A. J. CassaTT 

Joun H. Converse 
Ecx egy B. Coxe, Jr. 
WILu1AM L. ELx1ns 
Miss Mary K. Gisson 
CLEMENT A. GrRISCOM 
Mrs. ALFRED C. HarRIson 
Joun H. INGHAM 
OLIVER B. Jupson 
Epwarp I. KEerrer 

C. Hartman KuxuNn 


[ 181 | 


Epwarp G. McCoti1n 
Toomas McKzan 

CLEMENT B. Newso.ip 
James W. Paut, Jr. 

Mrs. Franx H. RosENGARTEN 
RicHAarD RossMASSLER 

EpGar Scott 

Simon A. STERN 

Miss ANNE THOMSON 
ALEXANDER VAN RENSSELAER 
Henry WHELEN, JR. 


P. A. B. WIDENER 


1903-1904 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 

Joan H. IncuHam, Secretary 

Henry WHELEN, Jr., Treasurer 


DIRECTORS 

Mrs. Witit1amM W. ARNETT Toomas McKgEan 
GrorGE BuRNHAM, JR. CLEMENT B. NEwsoip 
A. J. Cassatt James W. Paut, Jr. 
Joun H. Converse Mrs. Frank H. RosENGARTEN 
Ecxtiry B. Coxe, Jr. RicHARD RossMAsSLER 
Miss Mary K. Gipson EpaGar Scott 
CLEMENT A. GRISCOM Simon A. STERN 
Joan H. INcHam Miss ANNE THOMSON 
Epwarp I. Kerrer ALEXANDER VAN RENSSELAER 
C. Hartman KuHN ANDREW WHEELER, JR. 
Epwarp G. McCotiin Henry WHELEN, JR. 
Otiver B. Jupson P. A. B. WipENER 

1904-1905 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKean, Vice-president 

Joun H. IncHam, Secretary 

Henry WHELEN, Jr., Treasurer 


DIRECTORS 

GrorGE BuRNHAM, JR. THomas McKEANn 
Joun H. ConveErsz CLEMENT B. NEwsoip 
Ecxrzy B. Coxe, Jr. James W. Paut, Jr. 
Miss Mary K. Gipson Mrs. Frank H. Ros—ENGARTEN 
CLEMENT A. GriscoM RicHAarD RossMAssLER 
Joun H. IncHAM EpGar ScoTr 
Outver B. Jupson Miss ANNE THOMSON 
Epwarp |. KErrer ALEXANDER VAN RENSSELAER 
C. Hartman Kuxn ANDREW WHEELER, JR. 
Epwarp G. McCo.iin Henry WHELEN, JR. 

1905-1906 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
ANDREW WHEELER, JR., Secretary 
Henry WHELEN, Jr., Treasurer 


sr 824] 


DIRECTORS 


Mrs. Wiit1aAmM W. ARNETT 
GrorGE BurRNHAM, JR. 
ALEXANDER J]. CassaTT 
Joun H. Converse 
Ricuarp Y. Coox 
Ecxtey B. Coxg, Jr. 
Mrs. A. J. Dattas Dixon 
Miss Mary K. Gipson 
CLEMENT A. GRISCOM 
Joun H. IncHAaM 
Epwarp I. Kerrer 

C. HartTMAN KuHn 


Epwarp G. McCo.uin 
Tuomas McKEan 

CLEMENT B. NEwsoip 
Jamses W. Paut, Jr. 

Mrs. Frank H. RosENGARTEN 
Epcar Scorr 

Miss ANNE THOMSON 
ALEXANDER VAN RENSSELAER 
ANDREW WHEELER, JR. 
Henry WHELEN, JR. 

P. A. B. WIpENER 

Miss Frances A. WIsTER 


1906-1907 

OFFICERS 
ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 


ANDREW WHEELER, JR., 


Secretary 


Henry WHELEN, Jr., Treasurer 


DIRECTORS 


Mrs. Witt1AM W. ARNETT 
Gzorce BurNHAM, JR. 
Joun H. ConveErsz 
Ricuarp Y. Coox 
Ecxtey B. Coxe, Jr. 
Mrs. A. J. Dattas Dixon 
Miss Mary K. Gisson 
CLEMENT A. GRISCOM 
Joun H. IncHAM 
Epwarp I. Kerrer 

C. Hartman Kuun 
THomas McKran 


Epwarp G. McCotiin 
CLEMENT B. NEwBOLD 
James W. Paut, JR. 

Mrs. F. H. RosENGARTEN 
EpcGar ScorTrT 

Miss ANNE THOMSON 
ALEXANDER VAN RENSSELAER 
ANDREW WHEELER, JR. 
Henry WHELEN, JR. 

P. A. B. WipENER 

Miss Francsts A. WIsSTER 


1907-1908 

OFFICERS 
ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 


ANDREW WHEELER, JR., 


Secretary 


ArtuurR E. Newso.p, Treasurer 


DIRECTORS 


Mrs. WiLt14mM W. ARNETT 
GzorceE BurnuwaM, Jr. 
Joun H. Converse 
Ricoarp Y. Coox 
Ecxiry B. Coxe, Jr. 
Mrs. A. J. Dattas Dixon 
Miss Mary K. Gipson 
CLEMENT A. GRISCOM 
Joun H. IncHAam 
Epwarp I. Kerrer 

C. Hartman Kuan 
Epwarp G. McCo.uin 


[ 183 ] 


THomas McKEran 

ARTHUR E. NEwBoLp 
CLEMENT B. NEwsoLp 
James W. Paut, JR. 

Mrs. Franx H. Ros—ENGARTEN 
EpcGar ScotTrT 

E. T. Storespury 

Miss ANNE THOMSON 
ALEXANDER VAN RENSSELAER 
ANDREW WHEELER, JR. 

P. A. B. WipENER 

Miss Frances A. WISTER 


1908-1909 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKean, Vice-president 
ANDREW WHEELER, JR., Secretary 
ARTHUR E. Newso ip, Treasurer 


DIRECTORS 

Mrs. Witt1aAM W. ARNETT THomas McKzan 
CHares A. BRAUN ArtTHuR E. NEwBoLp 
GerorGE BurNuHAM, JR. CLEMENT B. NEwsoLpD 
Joun H. Converse G. Herve Norris 
Ricuarp Y. Coox Mrs. Frank H. RosENGARTEN 
Ecxtey B. Coxe, Jr. EpaGar Scott 
Mrs. A. J. Dattas Dixon E. T. StoTEsBuRY 
Miss Mary K. Gipson Miss ANNE THOMSON 
CLEMENT A. GrIscOM ALEXANDER VAN RENSSELAER 
Joun H. IncHAam ANDREW WHEELER, JR. 
C. Hartman Kuspn Miss Frances A. WISTER 

1909-1910 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
ANDREW WHEELER, JR., Secretary 
Artuur E. Newsoip, Treasurer 


DIRECTORS 
Mrs. Witt1amM W. ARNETT C. Hartman Kuan 
Cuares A. BRAUN THomas McKEan 
James Crossy Brown ArTHUR E. Newsotp 
GrorGE BurNHAM, JR. CLEMENT B. NEwsoLpD 
Joon H. Converse G. Here Norris 
RicHarp Y. Coox Mrs. Franx H. RosENGARTEN 
Ecxuey B. Coxe, Jr. EpaGar Scott 
Mrs. A. J. Datitas Dixon E. T. StoTEsBuRY 
THEODORE N. Ety Miss ANNE THOMSON 
Miss Mary K. Gipson ALEXANDER VAN RENSSELAER 
CLEMENT A. GrIscoM ANDREW WHEELER, JR. 
Joun H. INGHAM Miss Frances A. WISTER 
IQIO-I9II 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
ANDREW WHEELER, Secretary 

ArtTuHuR E. Newsoip, Treasurer 


[ 184 ] 


DIRECTORS 


Mrs. Wiit1aAm W. ARNETT Tuomas McKEAn 
Cuarves A. BRAUN ARTHUR E. NewsBoitp 
James Crospy Brown CLEMENT B. NEwsoip 
Ricuarp Y. Coox G. Herpes Norris 
Ecxtzy B. Coxe, Jr. Mrs. Frank H. RosENGARTEN 
Mrs. A. J. Datitas Dixon Epcar Scott 
THEODORE N. Ey E. T. Storespury 
Miss Mary K. Gipson Miss ANNE THOMSON 
CLEMENT A. GrRIscOM ALEXANDER VAN RENSSELAER 
Joan H. INcHam ANDREW WHEELER 
C. Hartman KuHn Miss Frances A. WIsSTER 
IQII-1912 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
ANDREW WHEELER, Secretary 

ArtTHuR E. Newsoip, Treasurer 


DIRECTORS 

Mrs. Witt1aAmM W. ARNETT ARTHUR E. NEwBOLD 
CHarzues A. BRAUN CLEMENT B. NEwsBoip 
James Crossy Brown G. Here Norris 
Ricuarp Y. Coox Mrs. Frank H. Ros—ENGARTEN 
Ecxuey B. Coxe, Jr. EpaGar Scott 
Mrs. A. J. Datias Dixon E. T. STOTESBURY 
THEODORE N. Ety Miss ANNE THOMSON 
Miss Mary K. Gisson ALEXANDER VAN RENSSELAER 
CLEMENT A. GRISCOM Mrs. L. Howarp WEATHERLY 
Joun H. IncHam ANDREW WHEELER 
C. Hartman Kunn J. R. Barton WILLING 
Tuomas McKean Miss Frances A. WIsSTER 

1912-1913 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
ANDREW WHEELER, Secretary 

Artuur E. Newsoip, Treasurer 


DIRECTORS 
Mrs. WitL1AM W. ARNETT ArtTHuR E. Newsoup 
CHARLES A. BRAUN CLEMENT B. NEwsBoLp 
JAMEs CrosBy Brown G. Here Norris 
Ricoarp Y. Coox Mrs. Frank H. RosENGARTEN 
Ecxuey B. Coxg, Jr. EpaGar Scott 
Mrs. A. J. Datias Dixon E. T. StorEsBury 
THEODORE N. Ety ALEXANDER VAN RENSSELAER 
Miss Mary K. Gipson i Mrs. L. Howarp WEATHERLY 
CLEMENT A. Griscom* ANDREW WHEELER 
Joun H. IncHam J. R. Barton WILLING 
C. Hartman KuHN Miss Frances A. WISTER 


Tuomas McKran 
*Died during the season and his place filled by Mrs. Harold E. Yarnall. 


[185 ] 


1913-1914 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Tuomas McKzan, Vice-president 
ANDREW WHEELER, Secretary 

Artuur E. Newsotp, Treasurer 


DIRECTORS 
Mrs. Wiit1am W. ARNETT C. HartMAN KuHN 
Epwarp W. Box Tuomas McKzan 
Cuarves A. Braun ARTHUR E. NEwsoip 
Joon F. Braun CLEMENT B. NEwsoip 
James Crossy Brown G. Herve Norris 
Ricuarp Y. Coox Epcar Scorr 
Ecxtey B. Coxe, Jr. E. T. Srorespury 
Cyrus H. K. Curtis ALEXANDER VAN RENSSELAER 
Mrs. A. J. Dattas Drxon Mrs. L. Howarp WEATHERLY ~ 
TueEopore N. Ety ANDREW WHEELER 
Miss Mary K. Grsson Miss Frances A. WISTER 
Joun H. INGHAM Mrs. Harotp BE. YARNALL 
IQI4-1915 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Epwarp W. Box, Vice-president 
ANDREW WHEELER, Secretary 

Artuur E. Newsoip, Treasurer 


DIRECTORS 

Mrs. Wittram W. ARNETT Joun H. INcHam 
Epwarp W. Box C. HartMAn KuHN 
Cuares A. BRAUN Tuomas McKean 
Joun F. Braun ArtTHuR E. NEwsoip 
JAMEs Crossy Brown G. Herpe Norris 
Ricnarp Y. Coox E. T. Srorespury 
Ecxiey B. Coxe, Jr. ALEXANDER VAN RENSSELAER 
Cyrus H. K. Curtis Mrs. L. Howarp WEATHERLY 
Mrs. A. J. Datitas Dixon ANDREW WHEELER 
Grorce W. ELxIns Miss Frances A. WIsSTER 
THEODORE N. Ery Mrs. Harotp E. YarNALL 
Miss Mary K. Gipson 

1915-1916 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
E. T. Srotessury, Vice-president 
ANDREW WHEELER, Secretary 

ArtuHurR E. Newso.p, Treasurer 


[ 186 | 


Mrs. Witt1aAmM W. ARNETT 
Epwarp W. Box 
CuHarxrs A. Braun 

Joun F. Braun 

Jamzs CrosBy Brown 
Ricuarp Y. Coox 
Ecxizy B. Cox, Jr. 
Cyrus H. K. Curtis 
Mrs. A. J. Datias Dixon 
GrorGE W. ELxKINns 
THEODORE N. Ety 
SAMUEL S. FEts 


Miss Mary K. Gisson 


DIRECTORS 


Henry McKean INGERSOLL 
Joan H. IncHaM 

C. HarTMAN KuHN 

Tuomas McKean 

ARTHUR E. NEwsoip 

G. Herve Norris 

E. T. Storespury 
ALEXANDER VAN RENSSELAER 
Mrs. L. Howarp WEATHERLY 
ANDREW WHEELER 

Miss Frances A. WISTER 
Mrs. Haroip E. YARNALL 


1916-1917 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
E. T. Srotespury, Vice-president 
ANDREW WHEELER, Secretary 

Artuur E. Newso.ip, Treasurer 


Mrs. WiLtxt1AmM W. ARNETT 
Epwarp W. Box 

CHarues A. BRAUN 

JoHN F. Braun 

JAMEs Crossy Brown 
Ricuarp Y. Coox 

Cyrus H. K. Curtis 

Mrs. A. J. Datias Dixon 
GrorceE W. ELKINS 
SAMUEL S. FELs 

Miss Mary K. Gipson 
CuHarzes D. Harr 

Henry McKean INGERSOLL 


DIRECTORS 


Joun H. IncHam 

C. Hartman Kun 

ARTHUR E. NEwBOLD 

G. Herwe Norris 

E. T. Storespury 
ALEXANDER VAN RENSSELAER 
Mrs. L. Howarp WEATHERLY 
ANDREW WHEELER 

JosEpH E. WIDENER 

Miss Frances A. WISTER 
CHARLTON YARNALL 

Mrs. Harotp E. YARNALL 


1917-1918 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
E. T. Storespury, Vice-president 
ANDREW WHEELER, Secretary 

Artuur E. Newson, Treasurer 


DIRECTORS 


Mrs. Witt1AM W. ARNETT C. Hartman KuHN 
Epwarp W. Box ErrinGHaM B. Morris 
CHarues A. BRAUN ARTHUR E. NEwsBoLD 
Joun F. Braun G. Herpe Norris 
JAMEs Crossy Brown E. T. StoTesBury 
Cyrus H. K. Curtis ALEXANDER VAN RENSSELAER 
GzorceE W. ELKINS Mrs. L. Howarp WEATHERLY 
SAMUEL S. FELs ANDREW WHEELER 
Miss Mary K. Gipson JosepH E. WiDENER 
Cuarzes D. Hart Miss Frances A. WISTER 
Henry McKean INGERSOLL CHARLTON YARNALL 
Joun H. IncHam Mrs. Harotp E. YaRNALL 
1918-1919 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
E. T. Stotespury, Vice-president 
ANDREW WHEELER, Secretary 

ArtTHuR E. Newso.p, Treasurer 


DIRECTORS 

Mrs. Witt1am W. ARNETT C. Hartman Ku“un 
Epwarp W. Box | ErrincHam B. Morris 
Cuaruss A. BRAUN G. Herpe Norris 
Joun F. Braun E. T. StoTesBury 
James Crossy Brown Miss ANNE THOMSON 
Cyrus H. K. Curtis ALEXANDER VAN RENSSELAER 
Mrs. A. J. Dattas Dixon Mrs. L. Howarp WEATHERLY 
GzorGceE W. ELxKINs ANDREW WHEELER 
SAMUEL S. FELs JosepH E. WIDENER 
Cuarzes D. Hart Miss Frances A. WISTER 
Henry McKean INGERSOLL CHARLTON YARNALL 
Joun H. IncHAam Mrs. Harotp E. YarNaLy 

1919-1920 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
E. T. Srotessury, Vice-president* 
ANDREW WHEELER, Secretary 

ARTHUR E. Newso.p, Treasurer 





*Resigned during the season. 


[188 | 


DIRECTORS 





| Mrs. Wiitt1AmM W. ARNETT C. Hartman KuHn 
Epwarp W. Box ErrinGHaM B. Morris 
CuHarves A. BRAUN G. Herwe Norris 
JouHn F. Braun Miss ANNE THOMSON 
James Crossy Brown ALEXANDER VAN RENSSELAER 
Cyrus H. K. Curtis Mrs. L. Howarp WEATHERLY 
Mrs. A. J. Dattas Drxon ANDREW WHEELER 
GerorcE W. Exxins* JoszpH E. W1DENER 
SAMUEL S. FELs Miss Frances A. WIsTER 
CuHarzes D. Hart CHARLTON YARNALL 
Henry McKean INGERSOLL Mrs. Harotp E. YARNALL 


Joun H. IncHam 


1920-1921 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Witu1aM Jay Turner, Vice-president 
ANDREW WHEELER, Secretary 

Rosert K. Cassatt, Treasurer 


DIRECTORS 

Mrs. Witt1am W. ARNETT C. Hartman KuHN 
Epwarp W. Box ErrinGHaM B. Morris 
Cuarues A. BRAUN G. Hers Norris 
Joun F. Braun Rosert K. Cassatt 
JAMEs CrosBy BROowN Miss ANNE THOMSON 
Cyrus H. K. Curtis ALEXANDER VAN RENSSELAER 
Mrs. A. J. Datias Drxon Mrs. L. Howarp WEATHERLY 
WiLL1AM Jay TURNER ANDREW WHEELER 
SAMUEL S. FELs JosepH E. WIDENER 
Cuar.zs D. Hart Miss Frances A. WIsTER 
Henry McKzan INGERSOLL CHARLTON YARNALL 
Joun H. IncHAam Mrs. Harotp E. YARNALL 

1921-1922 

OFFICERS 


ALEXANDER VAN RENSSELAER, President 
Wituiam Jay Turner, Vice-president 
ANDREW WHEELER, Secretary 

Rosert K. Cassatt, Treasurer 


*Died during the season and his place taken by William Jay Turner. 


[ 189 ] 


Mrs. Witt1amM W. ARNETT 
Epwarp W. Box 

CHar.es A. BRAUN 

Joun F. Braun 

JAMEs Crossy Brown 
Cyrus H. K. Curtis 

Mrs. A. J. Dattas Dixon 
Witui1aM Jay TuRNER 
SAMUEL S. FELs 

Cuar.zs D. Hart 

Henry McKean INGERSOLL 
Joun H. IncHam 


DIRECTORS 


C. Hartman KuHN 
EFFINGHAM B. Morris 

G. Herwe Norris 

Rosert K. Cassatr 

Miss ANNE THOMSON 
ALEXANDER VAN RENSSELAER 
Mrs. L. Howarp WEATHERLY 
ANDREW WHEELER 

JosEepH E. WIDENER 

Miss Frances A. WISTER 
CHARLTON YARNALL 

Mrs. Haroutp E. YarRNALL 


1922-1923, 1923-1924, 1924-1925 
OFFICERS 


ALEXANDER VAN RENSSELAER, President 
WixiraM Jay Turner, Vice-president 
ANDREW WHEELER, Secretary 

Rosert K. Cassatt, Treasurer 


DIRECTORS 


Mrs. WiLu1AM W. ARNETT 
Epwarp W. Box 

Evan RANDOLPH 

Joun F. Braun 

James Crossy Brown 
Cyrus H. K. Curtis 

Mrs. A. J. Dattas Dixon 
Witi1aM Jay TURNER 
SAMUEL S. FELs 

CuHarzes D. Harr 

Henry McKean INGERSOLL 
Joun H. IncHam 


C. Hartman KuHN 
ErrINGHAM B. Morris 

G. Herwe Norris 

Ropert K. Cassatt 

Miss ANNE [THOMSON 
ALEXANDER VAN RENSSELAER 
Mrs. L. Howarp WEATHERLY 
ANDREW WHEELER 

JosepH E, WIDENER 

Miss Frances A. WIsTER 
CHARLTON YARNALL 

Mrs. Haroup E. YARNALL 


APPENDIx D 


First GUARANTORS OF THE PHILADELPHIA ORCHESTRA 


I9O0-190I 


Mr. Horace ALLEN 

Miss HeteEN AUDENRIED 
Mr. Lewis AUDENRIED 
Mrs. A. W. Bairp 

Mr. W. J. Barrp 

Mr. J. W. Bayarp 

Mrs. E. F. Beatz 

Mrs. Louis F. BENson 

Mrs. ARTHUR BIDDLE 

Mrs. GreorGce Tucker BisPHAM 
Rev. Cyrus TownsEenD Brapy 
Mr. Joun F. Braun 

Miss Franczs |. Brock 

Dr. Epwarp Brooks 

Miss Harriet BUCHANAN 
Mrs. Epwarp S. BuckKLEy 
Dr. C. E. CADWALADER 
Miss F. E. CatpweELu 

Mrs. ALEXANDER J. CAssATT 
Mrs. S. CasTNER, JR. 

Mer. Frank G. CAUFFMAN 
Miss Kate H. CHANDLER 
Mrs. James H. CoapMAN 
Mr. Cuartues J. COHEN 

Mr. Joun H. CONVERSE 
Mrs. ALEXANDER BROWN COxE 
Mrs. Cnas. E. Cox 

Mr. Ecxzey B. Coxe, Jr. 
Miss REBECCA Coxe 

Mr. F. E. Cresson 

Mr. Davin S. CresswELL 
Mae. D. E. Crozier 

Mr. H. B. Curran 

Mr. Cuas. W. DANNEHAUER 
Mr. Francis T. S. DARLEY 
Mrs. SamuEet G. Dixon 
Mr. GesorceE B. DrRzIsLER 
Mr. Tuo. N. Ery 

Mr. CHANCELLOR C. ENGLIsH 
Mrs. SpENCER ErRvIN 

Mrs. Wn. H. Farr 

Mr. Cuas. H. Fiscuzr 


Miss Mary K. Grsson 

Mr. W. W. Gitcurist 
Mr. Wm. Grew 

Miss Mary C. GriFFITH 
Mrs. CLremMEenT A. Griscom 
Mr. W. Bennett GoucH 
Mrs. R. Emotr Hare 
Mrs. J. CampBELL Harris 
Mr. Austin S. HecxscHer 
Messrs. C. J. Heppz & Son 
Mr. F. D. Hower 

Mrs. WarREN INGERSOLL 
Miss M. H. INGHAM 

Mr. W. H. Joyce 

Mrs. O. A. Jupson 

Mr. O. B. Jupson 

Dr. Epwarp I. Kerrer 
Mr. Puitipe F. Kevtiy 

Mr. Oscar A. Knipe 

Mr. C. Hartman KuHN 
Mrs. BigELow LAWRENCE 
Miss Nina Lea 

Mr. J. BerTRAmM LippIncotr 
Mrs. E. Lyncu 

Mr. Epw. G. McCo.iiin 
Mrs. H. Pratr McKgran 
Mr. THomas McKean 

Mr. Frank McLauGHLINn 
Messrs. Henry MILierR & Sons 
Mr. Joseph M. MitcHEson 
Mr. CLtement Bucxtey Newsoip 
Mrs. Tuomas H. Newton 
Miss Eruet Parris 

Mrs. JosepH ParrisH 

Miss M. ParrisH 

Hon. CLEMENT B. PENROSE 
Mrs. Err Kirx Price 

Mr. Max RigBENACcK 

Mrs. E. C. Roserts 

Mr. W. S. Rosrnson 

Miss FANNIE RosENGARTEN 
Mrs. Frank H. RoseNGARTEN 


| rgt | 


Mr. J. G. RosENGARTEN 
Mauss Exrs& West RuLON 
Miss Emma SCHUBERT 

Mr. Epcar Scott 

Mrs. THomas A. ScortT 
Miss ExrizaABETH SMITH 
Mrs. Epwarp B. SmitH 
Miss E. K. Situ, JR. 
Mr. S. Decatur SMITH 
Mrs. A. M. Starr 

Mr. Simon A. STERN 
Messrs. N. Stetson & Co. 
Mrs. CorneELius STEVENSON 
Mr. W. R. Stosse 

Miss M. D. TENBROOKE 
Mr. J. B. Toayer, Jr. 
Mr. Geo. C. THomas 
Mr. Henry J. THouron 


Mr. Henry GorDON THUNDER 
Mr. Avex. VAN RENSSELAER 
Mrs. T. H. Warren 

Mr. Henry WATERS 

Mr. L. R. WetsH 

Mr. ANDREW WHEELER, JR. 
Miss GERTRUDE WHEELER 
Mr. C. S. WHELEN 

Mrs. C. S. WHELEN 

Mr. Henry WHELEN, JR. 
Miss ApB1IE WINNERY 

Mr. Exxis D. WiLit1AMs 
Mr. Cuas. WILLING 

Mr. Davin D. Woop 

Dr. C. S. Wurts 

Mrs. CHARLTON YARNALL 
Mr. RicHarp ZECKWER 

Mr. Harry D. ZIEGLER 


[ 192 ] 


APPENDIX E 


SUMMARY OF ConcERTS PLAYED BY THE PHILADELPHIA ORCHESTRA 
SEASONS 1900-1901 TO 1924-1925, INCLUsIVE 


I—SEASON I900-190I: 


SNR EERE I hee soos ce ot Sinai svg tiv Meme ae 6 
SAN, ec coe ceed heen eed. I 
Ce ee ey sieved vie¥ aks aah 7 


2—SEASON I90I—1902: 


Regular Series Concerts. .14 28 
fic Hepedrsals........ He) ec ity ees eR ieee eae ati 
Allentown, Harrisburg, Lancaster, Reading, York, 

Penna., Trenton, Wilmington, three Oe reach eas 24 

TUSSLE i 2a i I are a a oe 


3—SEASON 1902-1903: 


Regular Series Concerts. .14 

Public Rehearsals........ BAT ee ay ke toa ee oat Ae 28 
BN a ete Pee crite ai a de lie 6 ove oon. 5 
a Mate LES te era's ale ls 0 5.3\~' sw, Hes ovis we s 5 


Wouag toopie 5 Kducational Series... .......5......- 

Allentown, Harrisburg, Lancaster, Reading, York, 
Penna., Wilmington, three (3) SAP te ae 18 

Baltimore, Carlisle, Lebanon, Lock Haven, Scranton, 
Wilkes- Barre, Williamsport, Penna., New York City, 
Trenton, Washington, one (1) PE Ta Near Wp a ae 10 


4—SEASON 1903-1904: 
Regular Series Concerts. .14 


Public Rehearsals........ PAGVAE Sie Pt Bere nee eer 28 
Young People’s Educational Lecture Concerts........ 5 
Bee CCUG Fans Fe EA RSs eines naa ame reels Steno he 5 
IG) EI Se eR Ao oc A 2 
MaRS MOC OTR 0.2505 Sy 4100 & hoe eat eee OME nL as ade is 
Preimmernibaud) Concert 02). go, Vee eee cee os I 
Allentown, Harrisburg, Lancaster, Penna., Wilmington, 
three (3) GACH he ee ahs eerie, lp amano eaten i 
pone yeh IR Rr isi Cdn dane mee fee ara See rene 


5 SEASON 1904-1905: 
Regular Series Concerts. . 15 


Public Rehearsals........ ig foot se eee ba 
People's Concerts: 0s). wis ca'eao ak gs ce 5 
Weingartner Concert, Special...) . sea I 
Harrisburg, Washington, one (1) each. ee 2: 
TOTAL. 0. oe es ne or 38 
6—SEASON 1905-1906: 
Regular Series Concerts. . 18 36 
Public Rehearsals........ 18 [00 
Lecture Concerts... 20. 0... eins = oe 


. 4 
Baltimore, Washington, Wilmington, three @) each.. 9 
Lancaster, Reading, New York City, two (2) each.... 6 


Trenton, Easton, Brooklyn, one (1) cach ee eee 3 
TOTAL. i. bien oss eole oe ee 58 


7—SEASON 1906-1907: 
Regular Series Concerts. .20 


me rmuertteb Tr Oo 
Public Rehearsals........20 : 
People's Concert, Kensington. ...\.c25 is I 
Baltimore.......0:i.032 0405-5 > +> oe 5 
Washington.........52.. 0.455022 2 5 
Wilmington. . ooo... ee + ee 4 
Harrisburg. .... 2. «4s dp a's oo ae ee 0 ee 3 
Trenton... 6.06)... Mi pew als) oe er a 
Easton, Reading, Penna., one (1) each 25 eee 2 

TOTAL. o) eo ye sind ene ew oles 60 62 
8—SEASON 1907-1908: 
Regular Series Concerts, 22: pairs, (9. sn 44 
“In Memoriam’ Concert, Fritz Scheely ee I 
Baltimore... 0. shh saa a) oe 5 
Washington. 0... fies els cee oe 5 
Wilmington. ..°).....0..0) 2.5 5-5 a 4 
Lancaster... ose eel x 
New York City, Trenton, one (1) cache 2 
TOTAL... os cowie we os 63 
9—SEASON 1908-1909: 
Regular Series Concerts, 22. pairss (yee 44 
University of Pennsylvania... ... 2209 2 
People's Concerts, Kensington. |. +) 2.2 2 
Baltimore... 2.000) eee ee eo oe 5 
Washington... 0. 65.0.50.5. 120) de 5 


DS a a AR ES a a eR Ae, Or 4 


ae eh ke Ae ON OA fsbo elle ewan 2 
New York City, Brooklyn, Princeton, one (1) each 3 
RN Sh oy i 2s vis 0a pan aes 67 


IO—SEASON I909-19I10: 


Rees) COLCCLES, 22: Pails. os eee elec thoes 44 
DOT VETOES Ss 0 Sa aE 10 
eee VIO CORSY | Vatia.. 6... sees ee ees 6 
er eestocrcerts, KCnSiINpton is... ne eee ls 3 
oa EY OST Se a ag rae a I 
NN a lyin ts vigkg mb onto lw bse othe sla se ae 5 
Se a iin paid en ead vieidie Lee e ves yes 5 
EE ef hw 0 gx 2 dein ern sn natn Bee sien 4 
ES Oe Se a 2 

ORAL cy hg RT Raa Gr ae ee 80 


II—SEASON I9IO-IQII- 


eee vatses COMCCITS, 25 PallSe- ssn neces es enees 50 
DE RO Rae yim sea < s0 0G 5 03 iese ns II 
National Federation of Music Clubs, Special......... I 
Reames CiCeresRCTISINOTON <2 2 oc es ei ee et 8s 3 
Ree PE CHNSV IV ANIA se cw em tine nok or 2 
a en es ees bev oe 4 nnn ve I 
St oe ook eet + ite 9 ois 0 wala ps 5 
a Oe eT Ee ag die ayo Sf oon a ne Hove ase 4 
Sa RC pg ic 6 )e sb aw wis po ch @ mp 09 2 

ees 21 eng ccinie. egies: wegen «4 ds oi 79 


12— SEASON I9II~-I1912: 


Bet pt eet es CONCETES: 2.50 PAILS oer sos wie ies deel s ysl es 50 
Two pairs of Concerts for the Guarantee Fund........ 4 
DME ICE LES Se toio soo. pt ie elsieclg Gn a ty eigen 6 
pecrareeontctts, Kensington yey 562 dae sti eit 4 
Paver onrcnusylvania Concerts...........+.<<a<00: 2 
RAMEE OOD ates 2 TEs), Ria 5)'e), aa adi» «ana gece I 
So, Oe ca ee GAS pas MNT I 
ee Ce SEF Se Shes ail ey are SMe Oe etiam aa 2 
Ree PR os ac tcls Ve ek) ere, tai ory tod erin ata 6 
Ba ESO gris) 5 es Neer Phe Motel ola ore Ba wa Valty 
Akron, Cleveland, Easton, Norristown, Pittsburgh, 
eemte henna, one Gr each) Vee os enidiadet 
LU Ae Ry sa iar eae RI A bon cere Sat 86 


13—SEASON 1912-1913: 


Regular Series Concerts, 2.5. paits:). 02 a 50 
Popular Concerts 0 0.0. so. cu ee 6 
People’s Concerts, Kensington. ......50..). eee 3 
Germantown 2eoil.u ks ess. ta I 
Stetson Concett si... sa. 72s wine gen I 
University of Pennsylvania... ... 212)... 2 
Manuscript Music Society... 2... .... eeu eee eee I 
Atlantic City. 00 od 2 
Camden. i ices ences are 6 
Wilmington s)3 Secs oe aes oo va 


Akron, Cleveland, Toledo, Columbus, Detroit, Mich., 
Pittsburgh, Reading, Penna., Springfield, Mass., 


Washington; one (1) cach |... 2) See 9 
TOTAB. eiiide dvieesile diviel> 4 40s 9 85 
I4—SEASON 1913-1914: 

Regular Series Concerts, 2.5 pairs... 0 ee 50 
Special Concert in Afternoon Series...2 95.) ee I 
Popular Concerts...) <4. ..ds oka 6 
People’s Concerts, Kensington... ...) ieee 3 
University of Pennsylvania:...... 2.29.3 2 
Stetson Concert)... kins so I 
Atlantic City... oo 0..aiy a 4 
Princeton. o.oo ea eo 4 8h 2 
Washington... 6 0...0...0.. 19.95 0) 3 
Wilmington. 20... 0060. de ea ae 5 4 


Oberlin, Akron, Cleveland, Ann Arbor, Detroit, Bos- 
ton, North Adams, Mass.; Meriden, Middlebury, 
Bridgeport, Waterbury, Norwich, Conn.; New York 
City, Pittsburgh, Easton, Reading, Scranton, one 


(reach. 22.0.0... 17 
TOTAL. . oo. 5 eos be ee es Oe 93 
15 SEASON I9I14-1915: 

Regular Series Concerts, 25 pairs... (se eee 50 
Special “Pension Fund”. Concerts 3.2 2 
Concert for Young People. ...... 1.25. I 
University of Pennsylvania: <<... ae 2 
Richmond. . ...2...20.. 0420-41", rr 3 
Washington... 0.0.00) 0 3 
Wilmington. 2.20. ode es he en) Sig 
Atlantic City... 0.0.0... 0. 00 2 Se 2 
Reading... 0.0. 2 2 


Oberlin, Akron, Ann Arbor, Detroit, Baltimore, Buffalo, 
Cleveland, Erie, Indianapolis, New York City, 


Princeton, one (1) cach.’. .... 4) eee rr 
TOTAL. 0.003 cetacean a a clastic 80 


I16—SEASON I9I5—1916: 


Bem erateocrics CONCCItS, 25 Pails. os ee ae ee oe 50 
Mahler's Eighth Symphony, extra performances....... 7 
Public School (‘Public Ledger’’) Concerts. .......... 8 
Precio dayentecmnoon Concerts. 2.2)... 5... eb 3 
Divers pyrotiPcnnsylvania... 2.2... eles ks 3 
MRR OCLC rR eh ie ee a ie has Va  g eee I 
OR SE SI gl re eae Pe 5 
SUH OE 2D pul aig cs a een an ar 4 
OLS NS a cn ae La 2 


Baltimore, Bryn Mawr, Buffalo, Oberlin, Cleveland, 
Columbus, Dayton, Detroit, Ypsilanti, Mich.; James- 
town, N. Y., New York City, Norristown, Easton, 
Lancaster, Lebanon, Reading, Penna., Princeton, one 


LP DENSI 2 SUG GS er ot ee nea Or Ur 17 


I17—SEASON 1916-1917: 


Pee rm mperies CONCEIIS. 26 Pairs, 4.6 oive dds ee 50 
Special performance of Bach St. Matthew Passion..... I 
Public School (‘‘Public Ledger’’) Concerts. .......... 8 
hoor encaveuctern0on Concerts. . 2... ses ee ey 3 
Poretstey Got Pennsylvania Concerts... ..0...4....5:. 3 
SL CS al AN OS I 
Pivcipaits or Concerts in ‘Pittsburgh... ...).2....54.. 10 
JO SEL AN 3, 
US ITDS C1 6S 7 GES tel ce en 5 
MCE Ua er ee, 5 ok wee Rie cn ale Ss 5 
Some EEN EE: s Sioa eels a a oot BE wes 2 


Albany, Buffalo, Cleveland, Oberlin, Lima, Springfield, 
Columbus, Dayton, Detroit, Ypsilanti, Grand Rapids, 
Jamestown, N. Y., New York City, Portland, Maine, 
Princeton, Lebanon, Reading, Penna., Richmond, 
Va., Wheeling, W. Va., Williamstown, Manchester, 
Mass., one Gs ACT Se a 8 C5 eet ert Meh tall oN Ps nnn a eet 2I 


18—SEASON 1917-1918: 


Weutuerenctics (CONCCItS, 25 Palrs... «0 144 epee Ue 50 
rerireatron Conceit Special i.) by eae a I 
meeanmeoncett.. opecial 06 v... c1oe iy omen ene I 
Memes CONCeIt, Opecial .. 94:01 ek. ose eee ee I 
People’s Concert at Stetson Auditorium.............. I 
MRE S DAITS .\-.1.0hink. pices ae doth Oo Rite oR aan 10 
Pema a Ait. 5 otra stad Bae yn eR cha ae mee A 5 
eS at iar ee rep oan GREY Nee Coat 5 
(EL POG 90) Sg Pe SES, Oe RN Pere sin 5 
IN a. system ens oth eee ae EE 2 


Cleveland. 2.2 o. ec a z. 

Toronto, Canada ,.i.0 5620 vi). . oeldawd ale 

Camp Dix, N. J., Columbus, Dayton, Detroit, Grand 
Rapids, Kalamazoo, Ypsilanti, Mich., Buffalo, Ro- 
chester, Ithaca, N. Y., New York City, Princeton, 


one (1) each. ooo nl ae 12 
TOTAL, fii ge ec oy alee gee 98 
I19-—SEASON 1918-1919: 
Regular Series Concerts,.25 pairs... 700 50 
French War Relief Benefit... ....... 77s eee I 
Roosevelt Memorial Concert... ). 20 ee I 
Wanamaker Concert: . 3. ..3. 0... er ‘oy 
Stetson Anditorium......0...05. : 
University of Pennsylvania.......-. Sau z 
Pittsburgh, § paits... 0... <1. 0s 0 10 
Washington... 6.5 ae eels eae 5 
Baltimorei200 3. as vee es on Sa 5 
Wilmington... 2. ...00.0... 1... oe 5 
New. York City CAfternoon)... ... gue 5 
New York City, Vacation Association Benefit........ I 
Cleveland. 60. i sienay > dyn) on 3 
TOrontO. 260. cdae eee ed ede 3, 
Oberlin... 0. eb ol ee ey oe ear 2 
Wheeling, W. Va., Pottsville, one (1) each.......... rh 
House of Representatives, Harrisburg, Penna......... I 
TOTAL. 5 4. ise bee eee se ot 98 
20—SEASON I9I19-1920: 
Concerts, 25 paifs.... 6s. ss. bo 50 
Endowment Fund Concerts (telephone subscribers).... 2 
Wanamaker, Special. ...)........308 I 
Supervisors of Music, Special: .. 2a ee I 
Aeolian Concert, Special... -.... 5a Pe 
Stetson Auditorium... ........7. 2 eee I 
University of Pennsylvania: .. >. 5.3 5 
New York City (Evening)... °. ..7 2 5 
Pittsburgh, § pairs.'...5.......5 +. 0): er 10 
Washington... ..... 0.5 2..234..) 5 
Baltimore... 4.4.25 0. sees 5 
Wilmington. 3.0... ..c05 054. 0 5 
Toronto... cee eee eee oes ees 
Cleveland. .........0.5 2.400 + ev 3 
Hatrisburg.......5.......8.35) 40) ri 
Buffalo, Ithaca, Columbus, Oberlin, Detroit, Pottsville, 
Princeton, one (1)-each: ..... 20. ee 7 
TOTAL. occa nee ee eee ae ee 107 


2I—SEASON 1920-1921: 





Pew eosties CONCEITS, 2.5 Pails..i4 ews. cee hs aes 50 
i ces pele cpcse ais a whan oS 4 Sadie Ph 3 
Peopic siConcert at Stetson Auditorium.............. I 
SSS) MST Ca rr 5 
aE ARES SCTICS Jie yy 5 in, woh ik nov wie eb Ga alee 8 
Beeeeuea mic, New York, Special... ei scenes s I 
RT es. Be ial vatbdetalal os 5 
ie en eR ee yeah Sig 5 4 8 Sue NY baw eo eg 5 
ESE SRT 1 es RTE a ee ae ee 5 
OE SM TANTS Fe Ge eth, Liens fate ole aseness 2 vata inh IO 
UU EE on 18 Se 7 ee OR ra 5 
RE) PS ale arn wg a Sone 4 steno a 4 
Reet ton Otrsville, one (1). each... 2.8 fis balun) vi 

BR RTs ce ch olga ae bike) 2 cache 104 

22—SEASON 1921-1922: 

Pepe eee cries CONcciisy2§ pais... 26 22 ee 50 
tm Se ACONCCLES. Fo cic lice hk es wr foe aes 3 
pM DCC TIS eh co ee ek aa de ade BN 3 
eos aor gtiicis! aa nag wie orem Hes I 
Re Oe ey as Sine ape wees picid sie I 
Ber Me PRESTO eae gdp descese 5 ¢ aur nynee 9 I 
eater Os emIsy Vania. go. ie. ed cap sw oe cee 5 
Remar R CO TEMECOCTICN) oh 8) 0c ox Sede wale gol 10) 
MOL OLK ODOC Abe ee kes a cg fe gs cle aly «ooh 4 
REE EE I TI 6 in ak ea uhh ght vie Seis 5 
RM MN ie ek oes oy cs Se wy oe 5 
Oe ME CS 8. elaine eres eile alae IO 
(RUINED et SU ie a 5 
RN MSs Piva pins ecules wf glee tevin aes 4 
Pemearorerortsviiic, one (1) cach..........02.0020+ pe 

STON 2 aN i ALR as OPA 109 

23— SEASON 1922-1923: 

ee arene res ONCCTIS, 26 Pairs. oie. ne Seen s pens 52 
Poe aie CONCETIS. «os ee eee ne ie we ee 4 
De eeOUCEL(S, 3 PAILS, syen sow bee dad oe eric 6 
Bye ONCert Special... i discus ooo nele I 
RRC aE Ter S OCIA ih i Fc roieic eth mavie die cade pect ma I 
Mer eM RCO TEL 0, 2,07. hel > apt 2 ahckely i gba ye 4s ane I 
eo iincensiia Award’: )' Concert)... y4.qet ime uewns I 
een ee LOCUUID 2 ect nig! acces ha eta pa Gene I 
LS GOA Oa ere ie RE Ny M7 RA TERE SPS Or IO 
MePmER DEE SUMESIIYAITS 3. 2s dpoa et nen Pome oe sae Ae 6 
Seeman aecciiiiren.s Concerts e112 ee ea 3 
RI OTe as ier ee ie abe en he tee Bea 5 
eC re eg 02S Een heirs waiter wilh stare Gind Wier Ak 5 
Seat at 3, 0, Sad area ea Pern aL eth Fina (ies 4 
TOC COGS en MCP Sry be PE TE eke rer EN 3 
Peco. rottsville; one (reach 2. aeaccp sess. ue 

ing orp RR a arte te abr ar nnn A LOD Tum pe Ree iene IAC 105 


24—SEASON 1923-1924: 


Regular Series Concerts, 26 pairs: ..... 52 
Monday Evening Concerts: ). 22. ).), 00.75. 6 
Children's Concetts; 4 pairs... <......% 8 
Philadelphia ‘‘Forum,’’ Lecture Concerts............ 4 
Public School Children. iii. 0. ee 3 
Teachers’ Convention, Special... {722 I 
Philadelphia Award)... ... 0. Sea I 
Mendelssohn Choir of Toronto, Philadelphia shea I 
New York City. 0000.00. .0.% Ol 10 
Mendelssohn Choir of Toronto, Special, in New York.. 2 
Washington) .2.. 35.000... 2s (ae 5 
Baltimore. eu hy oe ae alos ec 5 
Toronto...) iseades cee on) ee 4 
Montreal,’Princeton, one (1) cach! Ge 2 

TOTAL, ¢ 0. nis ed las 2h er 104 


25—SEASON 1924-1925: 


Regular Series Concerts, 29 pairs. ...20 a 58 
Monday Evening..............5+. sess ceesseeses eee 8 
Children’s‘Concerts, 4 pairs ...) 23) 2 8 
Public School Children... 2... .. <9 3 
Philadelphia ‘‘Forum”’. <2. 2.25) 2-9 3 
Philadelphia Award Concert, Specialy 2) I 
New York City... 020052. aiss Ye eee 10 
Washington... 2... issn ass: oe 5 
Baltimore... 4. aye et 5 
TOrOnto ... sg ca tis ase pb cele et = Re 4 
Buffalo, Princeton, one (1) cach.) 2 2 

TOTAL. 4c ey ine clea n'alolels ses 0 ee 107 


[ 200 | 


APPENDIX F 


PERSONNEL OF PHILADELPHIA ORCHESTRA 1900-1925 


CoNDUCTORS 


PERSONNEL OF PHILADELPHIA ORCHESTRA CHORUS 1920-1921 


MANAGERS I900-1925 
Orrice STAFF 1925 


Fritz SCHEEL 1900-1907 


LEoroLD SToKOWsKI 1912 


S. ABAs 

Puitie ABBAS 

Harry ALEINIKOFF 
Paut ALEMANN 
Louis ANGELOTY 

P. ANTONELLI 
Rurus M. Arty 
BERNARD ARGIEWICZ 


WILLIAM L. ARKLESS 


J. ASCHKE 

ANTON ASENMACKER 
J. AYALA 

F. V. BADOoLLET 
Harry J. BAKER 
Irvinc J. BANCROFT 
Puitre BANSBACH 

W. BAaRCHEWITZ 
CLEMENTE BARONE 


RicHARD BARONE 
HERMAN BassE 


Gus BaTTLEs 
Victor Bay 
Jacos H. Brcx 
WituiaM J. Becx 
Mirko BELINSsKI 
J. F. Bexrots 


CoNDUCTORS 


PERSONNEL 


Violin 
Cello 
Violin 
Clarinet 
Violin 
Horn 


Clarinet (Principal) 


Cello 


Violin 
Viola 
Piccolo 
Cello 
Trumpet 
Flute 
Battery 
Violin 
Viola 
Violin 


Flute and Piccolo 
(Principal 1907-10) 


Violin 


Trumpet (Principal 1904-05, 
1914-15) 


Flute 
Violin 
Trumpet 
Violin 
Cello 
Violin 


[ 201 | 


Cart PoHLiG 1907-1912 


IQOI-O2 
1916-17 
1915-25 
1904-25 
1908-22 
1920-23 
1923-24 
1917-19 
1924-25 
1900-01 
1915-18 
IQOI-O2 
1917-19 
1916-17 
1901-04 
1923-24 
1916-25 
1919-22 
1901-04 
1900-01 
1904-10 
1923-24 
1904-05 
1914-17 
1906-09 
1922723 
1900-01 
1906-09 
1904-09 
1900-01 


Jort BELov 


SAMUEL BELOV 
JosEpH BENAVENTE 
Avucust BENDER 

F. BENETER 

IsaDORE BERV 
FREDERICK BETTONEY 
P. BranNcuLui 

Henry BieLo 

Jutius BreLo 
ANTONIN BLAHA 


Max BLeYER 
Max BLUMENFELD 
H. Boney 
Gustav BorEHM 
Louis BorHsE 


DANIEL BONADE 


Mitton BorRNSTEIN 
Rosario BouRDON 
Domenico Bovr 


IsADoR BRANSKY 
Horace Britt 
Rocer Britt 

JosEpH Bropo 
LzeoroLD BROECKAERT 
H. I. Brown 

J. H. BurKarTMAEIR 
NatTHAN CAHAN 

P. Canon 

L. CatLuiet 

H. Camrowsky 


HERMAN Carow 
Huco Carow 


S. H. CaurFMAN 


Harry CHAZIN 

S. CHEIFETZ 

Joser CHuDNowsKY 
JoHNn A. CIANCIARULO 


GiusEPPE CIMINO 
Davip CoHEN 
SoLoMON CoHEN 


Violin 


Viola 
Cello 
Trumpet 
Violin 
Horn 
Bassoon 
Violin 
Bassoon 
Bass 
Violin 


Trumpet (Principal 1903-04) 


Violin 
Violin 
Violin 
Bass 


Clarinet 


Violin 
Cello 
Violin 


Viola 
Cello (Principal) 
Violin 
Violin 
Flute 
Violin 
Violin 
Bass 
Cello 
Clarinet 
Violin 


Violin 
Viola 


Cello 


Violin 
Viola 
Violin 
Violin 
Horn 
Violin 
Trumpet 


[ 202 | 


1912-20 
1923-24 
1908-20 
1917-18 
I9OI-03 
I9OI-O2 
1923-25 
1917-20 
1913-14 
1920-22 
1920-22 
1906-08 
1909-12 
1903-08 
1904-06 
1903-04 
1900-01 
1904-07 
1908-25 
1917-22 
1924-25 
1921-25 
1904-08 
1917-23 
1924-25 
1919-20 
1907-08 
1914-20 
1918-24 
1904-05 
1921-25 
1900-01 
1900-24 
I9OI-02 
1916-25 
1903-17 
1920-23 
1916-18 
1900-04 
1908-21 
1901-02 
1903-04 
1919-23 
1924-25 
1913-24 
1900-01 
1903-05 
1918-19 
1918-25 
1918-25 


Lucius CoE 
FrepericK W. Coox 
CarLTON CooLey 
WILLIAM ConrRAD 

S. CorTADELLA 
FrANCEsco CorTESE 
R. Cras 

Henri CzZAPLiNnsKI 
S. DaBrowskI 
BENJAMIN D’AMELIO 
J. De Borr 

GEORGE DECHERT 
Grorce Dr CLEercK 
VICTOR DE GOMEZ 
Frank Deu Gatti 


F. Det NzecrRo 
EuGEene Devaux 
WiLuiAM DIEsSTEL 
Fritz DIrTERICHS 
JosepH Di NaTaLE 
WiLu1AM F. DopGE 
Carxt DoELu 

P. A. DonaTELLI 
FREDERICK DoNATH 
Paut Donats 


Max DonNER 
Joun D’Or1o 


ALFRED DoUcET 
Davip DuBINsky 


VLADIMIR DUBINSKY 
A. Dupuis 

W. B. Esann 

Sou EcxsTEIN 

Oscar E1Ler 

Bruno EINHORN 
BENJAMIN EIsENBERG 
Maurice EIsENBERG 
Henri ELKAN 

S. Etx1np 

Orto Extst 

Rupo.ipx ENGEL 
Davip EpstTeIN 
LEONARD EpsTEIN 
Meyer B. Epstein 
D. H. Ezerman 


Violin 

Violin 

Viola 

Bassoon 

Bass 

Harp 

Horn 

Violin 

Violin 

Violin 

Violin 

Trombone 

Viola 

Cello 

Viola 

Violin 

Bassoon 

Oboe 

Viola (Principal) 
Clarinet (Principal) 
Violin 

Violin 

Violin CConcertmaster) 
Tuba 

Viola and Celesta 
Violin 


Violin 
Horn 


Oboe (Principal) 
Violin 

Viola 

Violin (Principal 1912-25) 
Cello (Principal) 
Oboe 

Cello (Principal) 
Bass Clarinet 

Cello 

Cello 

Violin 

Cello 

Viola 

Bass 

Trombone (Principal) 
Viola and Trumpet 
Viola 

Viola 

Violin 

Cello 


[ 203 ] 


1905-19 
1906-24 
1919-20 
B22. 2. 
1923-24 
1900-01 
1919-20 
1924-25 
1923-25 
1919-24 
1901-02 
1901-04 
1912-19 
1916-19 
1920-21 
1927-27 
1s ply eer is 
I9IO-II 
E908-15 
I9OI-I2 
1917-18 
1906-07 
1900-01 
oe Ld 
hk fer 
aes ao 
1907-17 
1907-08 
1910-18 
1921-25 
1902-13 
1900-01 
I9OI-O2 
1908-25 
1906-07 
1916-18 
1901-02 
1900-O1 
1912-14 
1913-17 
1918-19 
1917-19 
1920-25 
1921-22 
1906-16 
1904-25 
1922-25 
1920-24 
1923-24 
I9OI-O2 


PasQuaL Fasris 
Rupo.pH FAHSBENDER 
Jutius Fatx 

VINCENT FANELLI, JR. 
Cart FassHAUER 
JOHN FassHAUER 


Henry W. FEHLING 
Harry FELDMAN 
W. FENSTEL 

EmiLe Ferir 
ANTONIO FERRARA 


Luic1 FERRARA 


Pauw Fitisack 
JOHN Fisnar 
Joun A. FiscHER 
R. FiscHer 
CLARENCE FoGG 


Emit FLOGMANN 


C. FRANKE 
GrorGE O. Frey 


NaTHAN Frey 

A. FRIESE 

Max FrRogticu 
Joun FRuNCcILLO 
Pau Fucus 
Mario GARAFFONI 
Epcar A. GASTEL 
Erwin GASTEL 
Frep GEIB 
Epwarp W. GEFFERT 
Victor GEOFFRION 
C. E. GeruarD 


A. GInsBURG 
ANGELO GiURATO 
Harry GLANTz 
BEAUMONT GLAss 
JosepH GLASSMAN 
ABRAM GOLDFUSS 
JEROME GOLDSTEIN 
A. GORODETZKY 


Violin 
Bass 
Violin 
Harp 
Violin 
Bass 


Violin (Principal) 
Violin 

Cello 

Viola (Principal) 
Violin 


Violin 


Violin and Clarinet 
Bassoon 

Flute and Piccolo 
Cello 

Viola 


Cello 


Violin 
Tuba 


Trombone and Euphonium 


Viola 
Battery 
Cello 
Viola 
Bassoon 
Bass 
Violin 
Cello 
Tuba 
Trombone 
Bass 
Trombone 


Violin 
Violin 
Trumpet 
Violin 
Bass 
Violin 
Violin 
Violin 


[ 204 ] 


1924-25 
1920-23 
1900-03 
1913-25 
1912-18 
1900-05 
1907-21 
1900-01 
1923-24 
1900-01 
1918-19 
1916-20 
1921-23 
1924-25 
1917-18 
1919-25 
1901-24 
1922-25 
1909-25 
1902-03 
1900-02 
1903-04 

1906-08 ~ 
1919-20 
1921-25 
I9OI-O2 
1921-23 
1923-24 
1921-24 
I9OI-O5 
1918-20 
1900-01 
1902-08 
1924-25 
1900-01 
1900-01 
1904-05 
1917-21 
1922-25 
1900-01 
1904-09 
1921-25 
1924-25 
1900-01 
1915—17 
1910-17 
1917-18 
1918-21 
1917-21 
1920-25 


CHARLES GREBE 


Frep P. Greims 

H. Greims 

HERMAN GREVESMUHL 
WILL1AM S. GREENBERG 
GEORGES GRISEZ 
JOHANN GROLLE 


R. GrossMAN 
Harry F. Grover 
WILLIAM GRUNER 
WALTER GUETTER 
B. GusIKorF 
IsADORE GUSIKOFF 
WiiiiamM H. GussEN 
Wiuit1am H. Guyon 
Cari HAFERBURG 


L. M. HarersurG 
Emit Hanyu 
Raymonp J. Haty 
Ericu HALTENORTH 


H. HALTENoRTH 
Cuarzes F. HAMER 
SIDNEY HAMER 
Paut HANDKE 

F. H. Har TMANN 
H. Hartman 

A. Hasz 


ALBERT Hasz 

Orro HAvuBENREISSER 
Gustav Hem 

A. Herne 

HERMAN HELLER 
JOHN HELLBERG 

P. HENKELMAN 
Otrto HENNEBERG 
Rupotex# HENNIG 
Dayton M. Henry 
A. HeyNen 

Hans HiIMMER 

H. J. HorNBERGER 
ANTON HorNER 
JosepH HorRNER 


Ernest Huser 


Cello 


Cello 

Viola 

Violin 

Viola 

Clarinet (Principal) 
Violin 


Cello 
Viola 


Bassoon (Principal 1906-07) 


Bassoon 

Cello 

Cello 

Violin 

Flute and Piccolo 
Viola 


Viola 
Viola 
Cello 
Violin 
Viola 
Violin 
Cello 
Cello 


Trumpet (Principal 1902-03) 


Trombone 
Bass 
Bass 


Bass 

Violin 

Trumpet (Principal) 
Violin 

Violin 

Bassoon 

Oboe and English Horn 
Horn 

Cello (Principal) 
Violin 

Bassoon 

Cello 

Violin 

Horn (Principal) 
Horn 


Bass 


[205 } 


1900-01 
1903-04 
1908-17 
1900-01 
1901-02 
1902-03 
1923-25 
1922-23 
1902-05 
1907-11 
I9OI-02 
1918-19 
1906-17 
1922-25 
1920-25 
TOl7-25 
1900-01 
1907-09 
19OI-02 
1903-05 
1902-03 
1902-19 
1920-23 
1901-02 
1904-24 
1903-04 
1919-20 
1918-22 
1901-03 
1900-01 
1900-01 
1904-06 
1920-25 
I9OI-O4 
1905-09 
1905-07 
1903-04 
1900-02 
1900-01 
I9OI-25 
1905-25 
1900-01 
1918-25 
IQOI-O2 
1904-14 
1900-04 
1902-25 
1900-01 
1902-25 
1919-20 


A. Huster 

L. Hutinet 
Rotanp Hux ey 
Joun G. INGLE 
WILLIAM JAEGER 
JoszpH A. JAKOB 
Sot E. JAaRRow 
Lewis C. JocHER 


CLARENCE JORDAN 
Ernest K AEHLER 


Maurice KAPLAN 
ALFRED KASTNER 


JosepH E. KEARNEY 

Oscar KELLER 

GEOERGE WILLIAM KEyYsER 
Cari KinLMAN 

W. M. Kincarp 

Hans KinDLER 

SAMUEL KLIACHKO 

Kartu Kiupp 

Cart KNEISEL 


F. H. KNorr 
Henry Kocu 
A. KorHLeR 
H. Kogenic 
JAN Korrt 


BENJAMIN KoHON 

A. Kors 

ELKan KosMAN 
Fasien KoussEvVITZKY 
Boris KoutTzEN 
Huco KReisLer 

Emit KreEssz 


GEORGE KRESsSE 


CHRISTIAN KRIENS 
RicHARD KRUEGER 


E. KruGer 

Ortrto KruGER 
Paut KRuMMEICH 
WILLIAM Kruse, JR. 


Violin 
Trombone 
Violin 
Violin 
Trumpet 
Horn 
Viola 
Bass 


Violin 
Violin 


Viola 
Harp 


Viola 

Clarinet 

Viola 

Violin 

Flute (Principal) 

Cello (Principal 1916-20) 
Cello 

Horn 

Cello 


Bass 

Horn 

Trumpet 

Violin 

Violin 

Viola (Principal) 
Bassoon (Principal) 
Violin 

Violin CConcertmaster) 
Bass 

Violin 

Cello 


Violin, Tympani and Battery 


Violin 


Viola 
Bassoon (Principal) 


Violin 
Violin 
Violin 
Bassoon 


[ 206 | 


I9OI-02 
1916-17 
1906-08 
1900-01 
1900-01 
1909-10 
1905-06 
1900-01 
1907-13 
1924-25 
1900-01 
1907-13 
1920-25 
I9OI-02 
1903-04 
1903-04 
1902-04 
1908-19 
1903-19 
1920-25 
1914-20 
1920-22 
1901-04 
1908-17 
1919-22 
1900-01 
1900-01 
1903-04 
1903-04 
1900-02 
1902-08 
1912-15 
1901-06 
1901-02 
1923-25 
1924-25 
1906-07 
I9OI-O2 
1904-25 
1901-03 
1906-07 
1902-04 
1901-06 
1907-08 
1909-12 
IOIS~22 
be seb i 
1905 -*7 
1903 7 
1920-21 


Avexis Kupiscu 
Juuius G. KumMMg 
Max LacamMuTH 
JoszpH La Monaca 
F. M. Lapetina 
Francis J. Laprrino 
Emite Latiscu 
VINCENT Lazarro, JR. 
H. C. Lz Barsizr 
Morris Len 

J. W. F. Leman 
Mitn Lemiscu 
ALFRED LENNARTZ 
B. F. LeventTHar 
Harry Levy 
Rosert LINDEMANN 
A. Lipkin 

GzorGE LivorTi 
GusTAvE A. LozBEN 
ALFRED LORENZ 


Franz LorENzZ 
Paut P. Lotz 


H. Lucas 
ArtHur Luck 
C. STANLEY Macxry 


Rosert MADLER 

E. Magstre 

E. Maracu 
THEODORE MANSFELT 
ANDRE MAQuARRE 
DaniEL MaQuarRReE 
ATTILLIO MARCHETTI 
Joun MarquarDT 
Mrs. JoHN MarQuaRDT 
HerMAN MartTONNE 
Gustav Mayer 
Henry Mayer, Jr. 
ALBERT MEICHELT 
Nicota MELatTT1 
Emiztio Meriz 
Hersert G. Mertz 
J. Messras 

Harry W. MEYER 
Joon A. MEYER 
Paut MgyEer 


Violin 

Viola 

Oboe and English Horn 
Flute 

Viola 

Harp 

Bass 

Bass 

Trumpet (Principal) 
Trumpet 

Viola 

Viola 

Cello 

Viola 

Violin 

Clarinet (Principal) 
Violin 

Violin 

Viola and Celesta 
Violin 


Viola (Principal) 
Violin 

Cello 

Trombone 


Viola 
Bass 


Tuba 


Bass 

Cello 

Bass 

Cello 

Flute (Principal) 
Flute (Principal) 
Oboe (Principal) 
Violin CConcertmaster) 
Harp 

Violin 

Battery 

Battery 

Trumpet 

Violin 

Violin 

Violin 

Cello 

Violin 

Violin 

Violin 


[ 207 ] 


1918-19 
1900-01 
1900-01 
1910-25 
1900-01 
I9II-I3 
1910-17 
1921-25 
1909-14 
T2325 
1908-18 
1900-O1 
1902-16 
IST 1-23 
1918-19 
1913-17 
1922-25 
1923-24 
1919-25 
IQOI-O2 
1903-17 
1917-18 
1918-25 
1909-17 
1900-01 
1909-25 
I9OI-O2 
1914-18 
1900-04 
1905-15 
1902-07 
1922-24 
1918-19 
1904-05 
1918-20 
1910-18 
1913-15 
1902-03 
1902-03 
1917-20 
1916-23 
1907-23 
1902-04 
1922-24 
1917-18 
1919-20 
I9OI-O2 
1904-15 
1900-01 
1914-21 


Henry J. Micoaux 
CHARLEs S. MILLER 
Rosert MinsEL 

Oskar Mopess 

BERNHARD MOLLENHAUER 
Joun W. Motioy 
AuBERT R. Morer 

Frank S. Morton 
HerMAN MUELLER 


MatrHew J. Muz Lier 
Otro MuELLER 


C. H. MuLier 

G. Munscu 
CHARLTON Lewis MurpHy 
Epwarp Murray 
Lupwic Nast 
GENNARO M. Nava 
F. A. NicoLettTa 
Davip NowInsk1 
BrAM OBERSTEIN 
W. OEsTERREICH 
Max OLANOFF 
Gustav OLK 

Huco O.x 

SAMUEL OLLSTEIN 
GusTAv PAEPKE 


Matyas Pautt 

L. PELLEGRINI 

Micnet PEenua 
WILLIAM PFANNKUCHEN 
WALTER PFEIFFER 

Earu Prouts 


Pauw PizscHEL 
STEPHEN PILLISCHER 
Pau. PirKowsky 
Paut PLANERT 
BENJAMIN PoDEMSKI 
ALEXANDER PoporF 
P. Popperyu 

M. Pottac 

MILTON PRINZ 
Kari QuERENGAESSER 
Pau. RauMIG 


Epwarp RaHo 


Viola (Principal 1915-17) 
Violin 

Horn (Principal 1901-02) 
Bassoon (Principal) 
Violin 

Violin 

Violin 

Violin 

Viola and Bassoon 
Bassoon 

Violin 

Violin 


Bass 

Clarinet 

Violin 

Viola 

Cello 

Viola 

oR 

Violin 

Cello 

Flute and Piccolo 
Violin 

Viola 

Violin (Principal) 
Violin 

Violin 


Bass 

Violin 

Cello (Principal) 

Bassoon 

Violin 

Violin (Principal part of 
seaSOn I911-12) 

Bassoon (Principal) 

Violin 

Violin 

Bass 

Battery 

Violin 

Violin 

Horn 

Cello 

Bass 

Bass (Principal 1901-14) 


Oboe 


[ 208 | 


1915-25 
1918-19 
1901-04 
1900-01 
1900-01 
1920-25 
1902-20 
1906-07 
1910-17 
1917-25 
1922-25 
1907-14 
1921-24 
1900-01 
I9OI-O2 
1900-01 
1924-25 
1902-04 
1922-23 
1923-25 
1906-17 
1923-24 
1903-04 
1918-19 
1903-04 
1902-04 
1920-22 
1902-05 
1922-24 
1918-23 
1919-20 
1920-25 
1906-07 
1910-19 
1911-18 


1908-09 
1924-25 
1921-25 
I9OI-05 
1923-25 
1923-25 
1901-02 
19OI-02 
1924-25 
I9OI-I5§ 
1901-17 
1919-20 
1924-25 
1913-76 


Lewis Rano 
Howarp F. Rattray 
Harouip W. Renric 
JoszpH REITER 

A. Renscu 
KautMAN Reve 

J. RHopEs 

L. M. Rice 
THADDEUus RicH 
ALBERT RIEsE 


HERMAN RIETZEL 
ALBERT RITTER 

A. RitzKE 

Aucust H. RopEMANN 
C. H. RopENKIRCHEN 


EpMoNnD RoELOFSMA 
B. RozscHMANN 


JEAN RoGisTER 
Sam Rosen 


M. Rots 

E. Rozaneu 

R. RyKMans 
ALFRED SAAL 
HERMAN SANDBY 


ApDOLPH SAUDER 
Hersert F. Saytor 
Fritz SCHAEFER 
Juxrus SCHEEL 
Pau SCHEELE 
REINHOLD SCHEWE 


K. ScHINNER 

WILLIAM SCHLECHTWEG 
Hans SCHLEGEL 
ALEXANDER SCHMIDT 
Emit SCHMIDT 

Emiu F. Scamipt 


GEORGE SCHMIDT 
Henry SCHMIDT 
RicHarD SCHMIDT 
Wiii1am A. ScHMIDT 


Oboe 

Violin 

Trumpet 

Horn (Principal) 

Oboe 

Violin 

Viola 

Viola 

Violin (Concertmaster) 
Horn 


Oboe 

Tympani 
Clarinet 

Flute (Principal) 


Trumpet (Principal 1907-09) 


Clarinet 
Violin 


Viola 
Viola 


Violin 

Trumpet 

Bass 

Cello (Principal) 
Cello (Principal) 


Oboe 

Violin 

Viola 

Violin (Principal) 
Viola 

Violin 


Horn 

Trombone 

Flute and Piccolo 
Violin 

Viola 

Violin 


Viola 

Violin 

Viola (Principal) 
Cello 


[209 ] 


1918-24 
1905-06 
LGIA215 
1900-01 
19OI-O2 
5OL3=1 4 
1901-02 
1902-03 
1906-25 
1904709 
1910-25 
1911-13 
1902-03 
1900-01 
1902-07 
1907-09 
IQII-15 
1902-20 
1900-01 
1903-04 
1923-24 
1919-20 
1921-25 
1924-25 
1917-18 
1901-02 
1904-06 
1902-04 
1908-16 
1900-01 
1904-05 
1904-05 
I9OI-12 
1904-15 
1900-01 
1907-16 
1901-02 
1904-15 
1916-25 
1908-12 
1900-01 
1900-01 
1903-04 
1908-23 
1902-11 
1920-25 
1900-01 
1903-04 
IQII-I2 
1914-25 


Cuar es M. Scum1tTz 
Puitippe SCHMITZ 


CuHarues F. SCHOENTHAL 


GEROLD SCHON 
Joun G. ScHon 
GEORGE SCHOTT 
FreD SCHRADER 

B. ScHREIBMANN 
B. Scuucn 
EpMUND SCHUECKER 
JosEPpH SCHUECKER 
Max ScHuLz 
RicHARD SCHURIG 
Oscar SCHWAR 
Mice Scraprro 
Max SELINSKI 
FRANK SELTZER 
ERNEST SERPENTINI 
Juxzs J. SERPENTINI 
Davip SHAIEVITCH 
J. Byron SHANNON 
Marcus SHERBOW 
JosEpH SHERMAN 

S. SIANI 

ADRIAN SIEGEL 
BERNARD SIEGERT 
IsRAEL SIEKIERKA 
Harry SILBERMAN 
Emi1Le SIMON 
GARDELL SIMONS 
Jacos SIMKIN 


J. C. Smarn 
Joser SMIT 
IsaDOR SOKOLOFF 
Max SoTTNEK 
WILLy SPECKIN 


ALFRED SPEIL 
S. Spoor 
GusTAv STANGE 
L. STARZINSKY 


Rosert STEIN 
Bruno STEINKE 
Bruno STEYER 
Karu STIEGELMAYER 
Water H. Stosse 


Cello 
Cello 


Flute (Principal 1900-01) 


Cello 
Bassoon 
Cello 
Trombone (Principal) 
Trumpet 
Violin 
Harp 

Har 
Violin 
Bass (Principal) 
Tympani 
Violin 
Violin 
Trumpet 
Oboe 
Clarinet 
Flute 

Bass 
Violin 
Violin 
Bass 

Cello 
Cello 
Violin 
Violin 
Cello 
Trombone 
Violin 


Piccolo 
Cello 
Cello 
Violin 
Bass 


Violin 
Violin 
Trombone 
Viola 


Cello 
Cello 
Viola 
Oboe 
Battery 


[ 210 | 


1900-01 
1903-13 
1919-25 
1900-01 
1909-10 
1918-20 
1916-20 
1912-18 
1904-06 
1921-23 
I9OI-02 
1904 
1909-11 
1902-05 
1900-02 
1903-25 
1914-15 
1907-14 
1907-11 
1924-25 
1920-25 
1905-06 
1920-24 
1900-04 
1923-25 
1924-25 
1922-25 
1920-21 
1924-25 
1917-18 
1907-14 
1915-25 
1920-23 
1924-25 
1900-01 
1924-25 
1914-18 
eee 
1903-04 
1905-10 
I9OI-03 
1919-20 
1902-04 
I9OI-02 
1903-10 
1902-03 
1919-20 


- 1924-25 


I90I-I0 
1900-01 


WiuuraM R. Stosse 
A. F. StocxBrIDGE 
Lzon STOLL 

WILLIAM STOLL, JR. 
ALFONS STORCH 

P. STRAHLENDORF 

K. STREUBER 
Epwarp A. STRINGER 
Jacos STROBLE 

Juxius STURM 
MicHAEL SVEDROFSKY 
Marce. TABUTEAU 
Epuarp Tax 

Morris TARTAS 
ALEXANDER J. THIEDE 
ANDREW THOMAS 
Hans TIEDGE 

ANTON TORELLO 
Lupwic TREIN 


R. UNGER 

G. UNGLADA 

Emit Ursasu 

James VALERIO 

F. W. Van AMBURGH 


Heppa VAN DEN BEEMT 


AuGust VAN LEUWEN 
IsRAEL S. VAN SCIVER 
ALBERT VAN STRATUM 
AMEDEE VERGNAUD 
Romain VERNEY 

A. VILLANI 

ApoupH VOGEL 

J. Voce. 

Henry F, Vo_tMer 
Louis VoLMER 

Ernst WAGNER 
FREDERICK E. WAGNER 


Joszer WALDMAN 
Rosert WALTER 
Henry WARNER 
Emit WascHEK 
Frank S. WATSON 
NeELson J. Watson 
HERMAN WEINBERG 
Kart WEINELT 


Tympani 

Violin 

Viola 

Violin 

Violin 

Violin and Bass Clarinet 
Bass 

Violin 

Violin 

Cello 

Violin CConcertmaster) 
Oboe (Principal) 
Violin 

Viola 

Violin 

Tuba 

Violin and Battery 
Bass (Principal) 

Cello 


Cello 

Violin 

Flute and Piccolo 

Battery 

Clarinet 

Violin (Principal 1906-07) 


Celesta 
Flute 
Battery 
Violin 
Viola 
Viola (Principal) 
Bass 

Cello 
Trombone 
Viola 
Cello 
Trombone 


Trumpet (Principal 1900-01) 


Violin 
Violin 
Violin 
Viola 
Cello 
Bass 
Violin 
Horn 


Pre | 


1900-01 
1906-07 
1900-01 
1900-01 
1904-06 
I9OI-02 
I9OI-O2 
1900-01 
1900-01 
1902-04 
1904-06 
1915-25 
1905-06 
1919-20 
1920-25 
1915-21 
1902-17 
1914-25 
1900-02 
1903-04 
1907-11 
1901-02 
1908-12 
1902-03 
1924-25 
TOi2-13 
1901-07 
I9II-20 
1920-24 
I9OI-02 
1900-01 
1905-06 
1924-25 
1920-25 
1922-23 
1921-25 
I9OI-02 
1900-01 
1900-01 
I90I-04 
1900-01 
1917-21 
1912-16 
1903-06 
1900-02 
1905-06 
1918-25 
1923-24 
1919-25 
1904-05 


H. WEIssENBORN 
WILLIAM WELKER 
DANIEL R. WELLS 
Witt1aAM M. WELLs 
M. F. WENNING 
CHarues R. WENZEL 
FLORENZ WERNER 
L. WERTHEIM 

Cart WHITAKER 

G. WIcKING 
Heinrich WIEMANN 
Ernest S. WILLIAMS 
BENJAMIN H. WINTERSTEIN 
FLor1AN WITTMAN 
H. WirrMann 
Joun K. WitzEMANN 
M. WoLiLENBERG 
Joun WuLF 

G. Zapp 

Karu W. ZEISE 
LEON ZEITZEW 
ALEXANDER ZENKER 
Pau. ZIEROLD 

L. Z1porKIN 
ALBERT ZOELLNER 


Clarinet 1900-01 


Violin 1900-01 
Viola 1900-02 
Cello 1900-04 
Violin and Bassoon 1901-03 
Cello 1904-06 
Violin I9OI-03 
Viola (Principal) I9OI-02 
Bass 1900-01 
Violin 1902-03 
Bass 1924-25 
Trumpet 1917-23 
Violin 1916-18 
Viola 1922-23 
Bass 1900-01 
Violin 1900-17 
Bass 1906-07 
Bass 1907-19 
Violin I9OI-O2 
Cello 1922-24 
Violin 1920-21 
Violin 1916-25 
Cello 1905-07 
Bass 1917-19 
Horn 1900-01 


NOTE—This list includes only those men who completed a season’s work. 


PHILADELPHIA OrcHESTRA CHoRUs* 
DECEMBER 1920 
First Sopranos 


Mrs. G. W. ANDERSON ‘19 
Mrs. ANNABEL I. BELL ‘19 
Miss Mitprep S. BENNERS ‘20 
Miss Heten G. BLaKELy ‘19 
Mrs. Mitprep S. CascaDEN ‘19 
Miss BLaNcHE E. CascaDEN ‘19 
Miss MitprepD Castor ‘20 
Miss Diana A. CAUFFMAN ‘19 
Mrs. M. CurisTIE ‘15 

Mrs. P. BENsoN COLLARD ‘19 
Miss GERTRUDE ELy ‘15 

Mrs. H. B. Ewine ‘15 

Mrs. Peart M. Giipay ‘20 
Mrs. Rosert C. GLENN ‘19 
Miss WINFREY GLENN ‘19 
Mrs. HaroLtD GREENE '20 
Miss Naomi V. Grosz ‘20 
Mrs. Haroitp H. Happoip ‘20 
Miss Acnzs M. HicsBze ‘16 





Miss Crara L. HoipeEn ‘15 
Miss H. G. HutistrRuNG ‘20 
Mrs. GERTRUDE M. JoNEs ’20 
Mrs. A. H. Korut '20 

Mrs. H. C. Kressty ‘19 

Mrs. Mitton Kutz ‘19 

Miss Erra C. LeVine ‘20 
Miss Hexen B. Lewis ‘15 
Mrs. Howarp McMoraris ’20 
Miss Irma F. Matponabo ‘20 
Miss Sopu1a MALESON ‘19 
Miss Grace E. Manorter '20 
Miss M. Ex1z. Morrison ‘19 
Miss Crara A. NaGEL "19 
Miss ANNA L. Nett ‘15 

Miss Ipa H. Ogtrer ‘16 

Miss Dorotuy E. Pierce ‘19 
Miss Ex1zasETH Powers ‘20 
Miss Marian M. RIpDLe ‘19 


*NOTE—Figutes following names denote year of admission. 


Fiera gt 


Miss Etuet K. RipGs ’20 Mrs. Lit1an S. Toupy *20 


Miss ALVA SERGEANT "14 Miss Vorita WELLS ‘19 
Mrs. ALBERT E. S—yMour '20 Mrs. M. N. WiLi1aMson ‘20 
Mrs. Masts T. Suck ’20 Miss FreEDA WOLLEY ‘19 
Mrs. Puiuip STERLING '20 Miss JOSEPHINE E. Zwick ‘19 
Miss Emma L. StraTTon ‘19 Miss A. EvisE HARTMAN ‘19 
Mrs. M. L. Sutton ‘20 Miss Marcaret S. Lewis "15 
Second Sopranos 
Mrs. GitBert P. ALBRECHT ‘15 Miss JEAN P. Mumrorp ‘19 
Miss Faye ATKINSON '19 Mrs. R. S. B. Perry '19 
Miss CaroLinE AUSTIN '20 Miss HELEN C. Puruips ’19 
Miss Heten M. Batten '14 Miss JoANNA L. PoTTER ‘14 
Miss AMELLA E. BEIN '14 Miss Emma M. Rza ‘19 
Miss Mitprep E. CascaDEN ‘20 Miss Exsiz G. RopGErs '15 
Mrs. Grace COLGAN ’20 Miss E. A. RossMAssLER ‘15 
Miss Marion W. EIsENHART '20 Miss Bernice RussELL ‘19 
Miss THEo R. EtpRreDGE ‘19 Miss Louise P. Scowarz ‘14 
Mrs. Ruts F. Extasson '19 Miss C. EvEtyn SMITH ‘15 
Miss Mary Date Hackett ‘14 Miss Marcuerite D. Smita ‘19 
Miss Erste M. Hauck ‘19 Miss PHorBe Hart SMITH ‘19 
Miss Marie L. Henry ’20 Miss HELEN R. SNYDER ‘19 
Miss Grorpiz P. JoLineE 15 Miss Mitava STANKOWITCH ‘14 
Mrs. ALBERT G. KLEEFELD ‘15 Mrs. JouHn B. Tuayer, 3rd ‘16 
Miss Kato. W. McCottin ‘16 Mrs. Anna M. WILT ‘19 
Miss EpitH M. MiLzer ’20 Miss HELEN B. WINELAND ‘15 
First Altos 
Miss Outve I. Berry ‘14 Miss Ciara A. JEWELL ‘19 
Miss Apa Bzss ‘20 Miss EvizaBETH K. JONEs ‘15 
Miss J. R. BONNIWELL ‘19 Miss Exriza KANNEGIESER ‘15 
Miss Joyce Bowers ‘19 Miss HELEN R. KERN '19 
Miss HELEN I. CHAMBERS ‘19 Miss Mitprep E. Locke ‘15 
Miss Frances B. CoDLINnG ‘20 Miss Morton J. Meyers '14 
Miss May CoLtpraNn ‘20 Miss Marcaret MontTGoMERY ‘19 
Miss ANNA E. ELLWANGER 'I5 Miss Sarieta M. RENTON '15 
Miss ADELE L. Fox 16 Mrs. E. M. ReYNOLDs '20 
Miss ANNE GEYER ‘19 Miss Ciara L. RIsTINE ‘15 
Miss CrepA GLENN ‘19 Mrs. R. J. RoBinson ‘19 
Miss K. Marte Goon ‘15 Miss Carouine L. RoTHMAN ’20 
Miss MARGARET GREAVES '20 Miss PauLinE C. Rumpp ‘15 
Miss Frora E. GRuNING '20 Mrs. Lzopotp SEYFFERT ‘16 
Miss Marton W. GusHEE 20 Miss Lypra P. WIsE ‘15 


Miss MarGueritE E. IncramM ‘15 = Mauss Ottve Wo tr ‘16 
Mrs. Davin J. WriGHT ‘20 


Second Altos 
Miss Marig M. Barr ‘14 Miss Frorence H. Burk ’19 
Mrs. JosepH M. Beckett ‘19 Miss Apa V. CLOUDEN '14 
Miss Epita M. Boyp ‘14 Miss ANNA COHN ‘15 





NOTE—Figures following names denote year of admission. 


[213 ] 


Miss Susie J. DatLey ‘15 

Miss F. Epna Davis '15 

Miss F. Carotyn DEAvER ‘19 
Miss M. P. EucHELBERGER '19 
Mrs. Cuares W. Foust '15 
Miss IRENE F. GOENNER ‘16 
Miss Atma L. KELLMER ‘20 
Miss Roperta Lairp ‘15 

Mrs. Joun H. McCracken '14 
Mrs. Ipa A. McGirr ‘20 
Mrs. Harry A. Mackey ‘15 


Mrs. Maurice Marxktey ‘16 
Miss ANNETTA R. Mastanp ‘20 
Miss Georcia P. PALMER ’15 
Miss Mary M. Pearson ‘19 
Mrs. Witt1am Pottock ‘19 
Miss Ray RAWLINGS ‘20 

Miss Eruet H. Stewart ‘14 
Miss Heten A. STRAUGHN ‘15 
Miss Atma M. TEGGE '19 
Miss JANE WHITEHEAD ‘19 
Miss E. May WILLIAMSON ‘14 


First Tenors 


Mr. Gitpert P. ALBRECHT "14 
Mr. A. W. ALLEN ’20 

Mr. Donatp G. Bairp ’20 

Mr. Henry W. Cravier, Jr. ‘15 
Mr. Aan C. CUNNINGHAM ‘15 
Mr. Rosert Dewar ‘20 

Mr. Caress E. Frew '15 

Mr. Josepuus J. Frost "15 

Mr. AtFrep H. GoNZALEs '15 


Mr. ArtHuR G. GraHaM, Jr. ‘19 


Mr. Henry K. HouiinceEer ‘20 


Mr. J. MitcHett Hooper ‘19 
Mr. Cuas. A. HUNSBERGER ‘14 
Mr. WILLIAM JAMISON ‘15 

Mr. ApotpH MEHNEN ‘15 

Mr. Samuet ALBERT Nook ‘20 
Mr. GeorceE D. Puitiirs ‘20 
Mr. Benjamin W. PRIcE '15 
Mr. Harotp C. Rawtey ‘14 
Mr. AvBert E. SzyMour ‘14 
Mr. Geo. H. STANIFORTH '15 
Mr. Ermer E. Travs ‘15 


Mr. J. Henry WarRREN ‘19 


Second Tenors 


Mr. Joun E. ABNETT, JR. ‘19 
Mr. Avotr Batop 20 

Mr. Jos. K. BaRTHOLOMEW '15 
Mr. Epwin S. BarTLeTT ‘14 
Dr. Cuarues A. BEHNEY '20 
Mr. Joun W. Cup '20 

Mr. Epw. W. Dretscu '20 
Mr. C. SzymMour Evans ‘15 
Mr. L. J. Finnan, Jr. ‘16 
Mr. Ws. D. Hamitt ‘15 


Mr. Wo. Lioyp Harpine ‘19 
Mr. EuGene Mutter '16 
Mr. Tuomas NEtson, JR. '20 
Mr. Apam H. Patrerson ‘19 
Mr. WILLIAM PoLtock 15 
Mr. J. R. SATTERTHWAITE '19 
Mr. Rzezse R. SmitH ‘20 

Mr. ALEXANDER STEWART ‘20 
Mr. Atxan F. Titus ’20 

Mr. GeorGcE R. Tyson ‘19 


First Bassos 


Mr. H. Cart ALBRECHT ‘14 
Mr. Cares A. BjorKLUND ‘19 
Mr. GeorcE P. Boaas ‘20 

Mr. Raymonp T. Boun '20 


Mr. ALBERT W. BRAEUNINGER ‘15 


Mr. Joun A. Broox ’20 
Mr. Henry T. DensBy ’20 
Mr. Bertram F. Everirt ‘15 
Mr. Wo. H. Favitze '19 
Mr. R. H. Firemine ‘14 





Mr. GzorGcE S. GENGENBACH ‘19 
Mr. Rosert C. GLENN '15 

Mr. Jas. B. GREENWOOD ‘20 
Mr. J. CourTLaAND Hamer '15 
Mr. RaymMonp E. Hess ’20 

Mr. W. Custer Hitt ‘20 

Mr. Epwarp E. HipscHer ‘20 
Mr. AtvaH H. Korat ’20 

Mr. FrepEerick LANDSTREET ‘15 
Mr. EuGene Mags ‘19 


NOTE—Figures following names denote year of admission. 


[214] 


Mr. Witit1am MiLieaM ‘15 Mr. Ricnarp M. SutrTon ‘19 


Mr. Hues R. ParrisH ‘19 Mr. ARTHUR SYNNESTVEDT ‘15 
Mr. Francis H. Rockett ‘20 Mr. Frank B. Titus ’20 

Mr. Wo. J. SEARLE, Jr. ’20 Mr. Epwarp L. WALLACE '20 

Mr. Howarp F. Srory '20 Mr. Bernarp G. Wis, JR. ‘20 


Mr. WILLIAM ZIMMERMANN ‘19 


Second Bassos 


Mr. Jas. H. W. AttHouseE '15 Dr. Eucene K. Krause ‘16 
Dr. Joun H. ARNETT '20 Mr. Wm. McGowan, Jr. ’20 
Mr. Harry BrozseE '15 Mr. Ray MILuer ‘20 

Mr. Cruinton M. CurisTINE ‘15 Mr. Cart F. Rumpp ’19 

Mr. A. P. Cute ‘14 Mr. Otiver F. Saytor ‘19 
Mr. STEPHEN T. Conway '20 Mr. Dennis SosNOwWSsKI ‘19 
Mr. W. R. Crawrorp ‘20 Mr. Mitton B. STALLMAN ‘16 
Dr. F. H. Eaton ‘20 Mr. Husert SYNNESTVEDT ‘16 
Mr. C. L. Farrapay ‘15 Mr. Geo. B. WHIDDEN ‘14 
Mr. Franx A. HarTRANFT 14 Mr. Frank J. WILLIAMs ‘20 
Mr. WittraM C. Hgss ’20 Mr. Frank D. WITHERBEE ‘19 
Mr. Harry K. Kirk '16 Mr. J. C. WRENSHALL, JR. ‘19 





NOTE—Figures following names denote year of admission. 


MANAGERS OF THE PHILADELPHIA ORCHESTRA 
1900-1925 
OtiverR Boyce JuDson, 1901-02 
GeorGcE P. EckEts, 1902-03 
Joun MAHNKEN, 1903-04, 1904-05 
Ernest J. Lanican, 1905-06 
Cuarxtes Aucustus Davis, 1906-07 to 1909-10 
Harvey M. Watts, 1911-12, 1912-13 
RaitpH EDMUNDS, 1913-14, 1914-15 
ARTHUR JUDSON, 1915-16 
Horace CourcHMAN, 1910-11, Controller 


Orrice STAFF 
SED) 
ARTHUR JUDSON, I915 
Louis A. Mattson, 1907 
ExizasetH M. Russe, 1917 
MarcGareT E. PRINGLE, 1916 


Mary A. McGinty, 1917 
Ruts M. O'NEILL, 1910 


[215 ] 


APPENDIX G 


AssISTANT CONDUCTORS 
Gurst CONDUCTORS 
ORGANIZATIONS THAT Have AppEARED WITH THE PHILADELPHIA 
ORCHESTRA 
Sotoists WHo Have APPEARED WITH THE PHILADELPHIA ORCHESTRA 


AssISTANT CONDUCTORS 


A. H. Ropremann, 1907: Philadelphia, February 15-16, conducted 

tegular concerts during Scheel’s illness. 

Tuappegus Ricu, 1914: Assistant Conductor, Kensington, Philadel- 
hia, April 8; November 5-6, 1915, entire programme with exception 
choenberg’s Kammer-symphonie; November 9, 1915, Stetson concert; 

Norristown, January 11, 1916; Philadelphia regular concerts, January 
28-29, 1916; Philadelphia Girls’ High School, January 31, 1916; Lan- 
caster, Pa., February 1, 1916; Easton, Pa., February 17, 1916; Reading, 
Pa., February 22, 1916; University of Pennsylvania, February 24, 1916; 
Boys’ Central High School, March 7, 1916; Germantown High School, 
March 30, 1916; Frankford High School, April 13, 1916; Stetson Con- 
cert, January 9, 1917; Atlantic City, N. J., January 22, 1917; Reading, 
Pa., February 20, 1917; University of Pennsylvania, February 21, 1917; 
Stetson Concert, November 7, 1917; Pittsburgh, Pa., February 11, 1918; 
Oberlin, Ohio, February 13, 1918; Philadelphia, December 28, 1918; 
Toronto, February 22, 1919; Philadelphia, March 21-22, 28-29, April 
12-15-16, 1919; Stetson, March 25, 1919; Wilmington, March 24, 1919; 
Stetson, November 15, 1921; University of Pennsylvania, January 18, 
1922; Philadelphia regular concerts, January 20-21, 1922; University of 
Pennsylvania, February 8, 1922; University of Pennsylvania, March 1, 
1922; University of Pennsylvania, March 22, 1922; Pittsburgh, Novem- 
ber 10, 1922, January 13, 1923, and March 23, 1923, conducted Chil- 
dren’s concerts; Stetson, November 14, 1922; Harrisburg, March 22, 
1923; Pittsburgh, March 23, 1923; Philadelphia regular concerts, Jan- 
uary 19-20, 1923; Philadelphia regular concerts, January 11-12, 1924; 
Princeton, March 18, 1924; Philadelphia regular concerts, January 23- 
24, 1925; Princeton, March 2, 1925. 


Guerst ConDUCTORS 

Ernest Broca, 1918: Philadelphia, January 25-26, conducted pro- 
gramme of his own works. 

LzanprRo Campanari, 1907: Philadelphia, February 22-23, March 
1-2; Harrisburg, February 19; Trenton, February 21; Reading, February 
25; Washington, February 26; Baltimore, February 27, during Scheel’s 
illness. 

ALFREDO CasELLA, 1921: Philadelphia, October 28-29, conducted his 
own ‘‘Pages of War.”’ 


[ 216 | 


ALPHONSE CATHERINE, 1919: Philadelphia, January 31-February 1, 
conducted entire programme. 

FRANK GUERNSEY CAUFFMAN, 1909: Philadelphia, March 5-6, con- 
ducted his own “‘Legende.”’ 

GrorceE W. Cuapwick, 1911: Philadelphia, March 29, conducted his 
own Suite Symphonique at National Federation of Musical Clubs 
Concert. 

Vincent D’Inpy, 1922: Philadelphia, January 6-7; Princeton, Jan- 
uaty 9; Washington, January 10; Baltimore, January 11; Harrisburg, 
January 12; Pittsburgh, January 13-14, conducted entire programme. 

Grorczs Enesco, 1923: New York, January 2; Philadelphia, January 
5-6; Washington, January 9; Baltimore, January 10; Harrisburg, Jan- 
uaty 11; Pittsburgh, January 12-13; Pottsville, January 17, conducted 
entire programme. 

Ossie GABRILOWITSCH, 1920: Philadelphia, April 3-5, conducted entire 
programme. 

Puitie H. Gorpp, 1909: Philadelphia, March 5-6, conducted his own 
Academic March; February 1, 1911, conducted his own Wedding March; 
April 2, 1913, conducted his own Wedding March, one number by Wm. 
Gerstley and one by H. Pfitzner—all Philadelphia. 

SAMUEL GaRDNER, 1919: Philadelphia, October 24-25, conducted his 
own ‘New Russia.”’ 

Henry Haptey, 1910: Philadelphia, November 25-26, conducted his 
own “Culprit Fay’’; New York, March 9, 1920, conducted his own 
overture, ‘‘Othello.’’ 

Victor Hersert, 1912: Philadelphia, February 16-17, conducted the 
prelude to Act III of his own ‘‘Natoma.”’ 

Henry Apert Lana, 1911: Philadelphia, March 1, conducted his 
own Fantastic Dances ope Concert); Philadelphia, April 2, 1913, 
conducted his ‘‘Fantasies of a Poet’’ (Manuscript Music Society Caneeey 

Wassiti Leps, 1908: Philadelphia, February 21-22, conducted entire 
Programme on account Pohlig’s injuries from railroad accident; also 
Philadelphia, March 13-14, 1908, and March 5-6, 1909, conducted his 
own ‘‘In the Garden of the Gods’’; Philadelphia, February 15, 1911 
(Popular Concert), conducted Clarence Bawden’s ‘‘Ballade’’ for Piano; 
Wilmington, February 5, 1912, conducted entire Wagner programme; 
Philadelphia, April 2, 1913 (Manuscript Music Society Concert), con- 
ducted his own aria for soprano and orchestra, ‘‘Nirvana.”’ 

Wittem MENGELBERG, 1921: Philadelphia, March 18-19, conducted 
entire programme. 

Darius Mityaup, 1923: Philadelphia, January 26-27, conducted 
entire programme. 

Orro Muster, 1913: Philadelphia, April 2, conducted his own 
Symphonic poem “‘Atlantis,’’ at Manuscript Music Society Concert. 

Horatio Parker, 1911: Philadelphia, March 29, conducted his own 
aria ‘‘Crépuscule,’’ at National Federation of Musical Clubs Concert. 

SeRGEI RACHMANINOFF, 1909: Philadelphia, November 26-27, con- 
ducted his own Symphony in E minor and Moussorgsky’s fantasy, ‘Une 
nuit sur le mont chauve’’; also played group piano soli. 

HERMAN Sanpbsy, 1915: Philadelphia, Ae 19-20, conducted his 
own orchestral suite, ‘‘The Woman and the Fiddler.”’ 


ed 


Cyrrit Scott, 1920: Philadelphia, November 5-6, conducted his own 
“Two Passacaglias for Orchestra.”’ 

FREDERICK STocK, 1924: Philadelphia, January 18-19-21; Washington, 
January 22; Baltimore, January 23, conducted entire programme. 

RicHarp Strauss, 1904: Philadelphia, March 4-5; Boston, March 7-8; 
conducted ‘“Tod und Verklarung,’’ ‘‘Till Eulenspiegel,’’ also a group of 
his own songs; Philadelphia, November 30, 1921; New York, October 
31, 1921; November 15, 1921, December 13, 1921, December 27, 1921; 
Philadelphia, December 23-24, 1921, conducted entire programme. 

Icor STRAWINSKy, 1925: Philadelphia, January 30-31, conducted 
entire programme of own works. 

Gustav STRUBE, 1915: Philadelphia, December 31-January 1, 1916, 
conducted his own ‘“‘Variations on an Original Theme.”’ 

Heppa Van Dew Beemt, 1913: Philadelphia, Manuscript Music 
Society Concert, April 2, conducted his own “Introduction and Scene”’ 
for orchestra, ‘‘Aucassin et Nicolette’; Philadelphia, April 3-4, 1914, 
conducted same composition. 

Wittem Van HoocstraTEN, 1925: Philadelphia, January 16-17-19; 
Washington, January 20; Baltimore, January 21, conducted entire 
programme. 

Louis Von GAERTNER, 1910: Philadelphia, December 22-23, con- 
ducted his own Tone Poem, “‘Macbeth.”’ 

Ferix WEINGARTNER, 1905: Philadelphia, February 16, conducted 
entire programme—special concert. 

CaMILLE ZECKWER, 1916: Philadelphia, February 4-5, conducted his 
own ‘‘Sohrab and Rustum.”’ 


ORGANIZATIONS WHIcH HAvE APPEARED WITH 
THe PHILADELPHIA ORCHESTRA 

Bacu Cuore oF BALtimorE (1907), Baltimore. 

Eurypice Cuorus oF PHILADELPHIA (1908, 1912). 

ForTNIGHTLY CLuB oF PHILADELPHIA (1908, 1916). 

Ben Greet Prayers (1909). 

Juncer Maennercnor SINGING Society OF PHILADELPHIA (1914). 

MENDELSSOHN CHorr oF Toronto (1924), Philadelphia. 

MENDELSSOHN CLUB OF PHILADELPHIA (1903, 1904, 1907, I9II, 1913, 
1914, 1916, 1919). 

PHILADELPHIA OrcHESTRA Cuorus (1916, 1917, 1919, 1920, 1921). 

PirrspurGH Cuorus, trained by Charles Heinroth (1921), Pittsburgh. 

ScHOLA CANToRUM oF New York (1919), New York. 

Organizations participating in the Lobgesang Symphony: 

CAaNTAVEs Cuorus, Eurypice Coorus, FELLowsH1P CLus, FORTNIGHTLY 
Crus, GERMANTOWN CuorAt Society, Haypn Crus, JuNGER MANNER- 
cHor, Lyric Crus, Matingz Musicat Crus, MENDELSSOHN CLUB, 
OrpHeus Crus, PHILADELPHIA CHORAL SocIETY, STRAWBRIDGE AND 
CLoTHIER CHoraut Society, TREBLE CLeF Cius, Vocat ArT Society, 
WANAMAKER CHORAL SOCIETY. 

Outside organizations participating in the performance of Bach's 
“St. Matthew Passion’’: 

Girts’ NorMat ScHoot and Giris’ Hicu ScHoou Cuorusszs. 


[ 218 | 


Sotoists WHo Have APPEARED WITH THE PHILADELPHIA ORCHESTRA 


Puitrp ABBAS 
MaBELLE ADDISON 
Frances ALDA 
PrerLey DuNN ALDRICH 
Mertz AtcocKk 
Paut ALEMANN 
EtrHet ALTEMUS 
Paut ALTHOUSE 
Horace ALWYNE 
PasQuaLE AMATO 
Rurus M. Arty 
Rosert ARMBRUSTER 
Prprto ARRIOLA 
AbDELE Aus DER OHE 
CrciLeE AYRES 
WILHELM BacHAus 
Dexia BAKER 

Inez BarsBour 

JoHN Barciay 
Louise BARNOLT 
Mary Barrett 
VERA Barstow 


1900-1925 


Cellist 

Contralto 

Soprano 

Baritone 

Contralto 

Bass Clarinet 

Pianist 1907, 
Tenor 

Pianist 

Baritone 

Clarinetist 

Pianist 

Pianist 

Pianist 

Pianist 

Pianist 1912, 
Soprano 

Soprano 

Baritone 1921, 
Contralto 

Soprano L915; 
Violinist 


GrorRGIA RICHARDSON BASKERVILLE Pianist 


Haroip BAvuER 


Epna Harwoop BAuGHER 
CLARENCE BAWDEN 

Dan BEepDpDOoE 

Wassity BESEKIRSKY 

Louis BarLtiy 

Davin BispHAM 

Litt1aNn BLAUVELT 

FANNIE BLOOMFIELD ZEISLER 


Epita Wetts Bry 
GiusEPPE BOGHETTI 
Epwarp BoNHOTE 
EL1zABETH BONNER 
LEONARD Borwick 
Rosario BouRDON 
DomeENIco Bove 
SopHIE BrasLAu 
Joun F. Braun 
Rosert BRAUN 
ExL1IzABETH PRITCHARD BREY 
BertHa BRINKER 
Horace Britt 
VioLta BRODBECK 


1914, 


I9II, 


1912, 


1914, 


1916, 
1922, 


1918, 


1917 
I9I5 
1914 
1910 
1921 
1923 
1916 
1916 
192.4 
1910 
1924 
1916 
1910 
1903 
1914 
1923 
1920 
1921 
1924 
I9II 
1919 
1916 
1915 


Pianist 1902, 1908, 1914, 1916, 


1917, 1918, 1919, 1920, 1922 
Soprano 1912 
Pianist 1910, 1911 
Tenor IQI5 
Violinist 1915, 1916 
Viola 1921 
Baritone 1903, 1904, I9II, 1921 
Soprano 1900, 1903, 1904 
Pianist 1902, 1903, 1904, 1907, 

1908, 1915, 1916 
Pianist 1910, 1916 
Tenor 1915 
Baritone 1910 
Contralto 1919, 1923 
Pianist 1914 
Cellist 1907 
Violinist 1916 
Contralto 1915 
Tenor 1902, 1908, 1911, 1914, 1915 
Pianist 1915 
Soprano 1922 
Soprano 1912 
Cellist 1907, 1908 
Soprano 1913, 1915 


[219 ] 


Eppy Brown 

HELEN BucHANAN 
RicHarpD BuHLIG 
Mrs. JosepH BUNTING 
Axoys BuRGSTALLER 
Tom BurkKE 

RicHARD BuRMEISTER 
Ferruccio Busoni 
Mane. CHar es CAHIER 
GrusEpPpE CAMPANARI 
TERESA CARRENO 
PaBLo CasALs 

ANNA CaAsE 

MarizE CasLtova 
ALFREDO CASELLA 
CrciLE CHAMINADE 
Kirry CHEATHAM 


WALTER CLAPPERTON 
Jut1a CLAUSSEN 
ACHILLE CocozzA 
Davip CoHEN 

Sot CoHEN 

Frank M. Cony 
Horatio CONNELL 
LuTHER CONRADI 
Emit1a Conti 
Extsa Lyons Coox 
CaRLTON CooLey 


Winner of Stokowski Medal 


ALBERT CORNFELD 
ALFRED CorTOT 
Cuarxes M. Coursoin 
MarRcELLA CRAFT 

Jura Cup 

CLAUDE CUNNINGHAM 
Royat DapMuN 
EuGENE D’ ALBERT 
MarGuERITE D’ ALVAREZ 
Murray Davey 
Resecca Davipson 
ELEANORE DE CISNEROS 
EmILIo DE GOGORZA 
Jose DELAQUERRIERE 

F. Det Necro 

Mary Hissem pg Moss 
VLADIMIR DE PACHMANN 
SUSANNA DERCUM 

Emmy DegsTINN 

Mina Dotores 


Violinist 1918, 1920 
Soprano 1914, 1915, 1919 
Pianist 1907, 1908 
Soprano 1904 
Tenor 1903 
Tenor 1922 
Pianist 1902 
Pianist IQII, 1915 
Contralto 1922 
Baritone 1905, 1908 
Pianist 1901, 1908, 1909, 1913, 1914 
Cellist 1915, 1918, 1920 
Soprano I9II, 1917 
Violinist 1916 
Pianist 1921, 1923 
Pianist 1908 
Interpreter of Children’s 

Songs 1913, 1914 
Basso 1922 
Mezzo-Soprano 1918 
Violinist I9IO 
Violinist 1917 
Trumpet 1923, 1925 
Basso I9QII 
Bass-Baritone 1912, 1914, 1917 
Pianist 1908 
Soprano 1914 
Soprano 1915, 1917, 1919 
Violinist 1921 
Violinist : 1915 
Pianist 1918, 1920, 1922, 1925 
Organist 1922 
Soprano 1916 
Lieder Singer 1914, 1916 
Baritone 1906 
Baritone 1920, 1921 
Pianist 1905 
Contralto 1922 
Basso I9I2 
Pianist 1917 
Mezzo-Soprano 1908 
Baritone 1907, 1915, 1916 
Tenor 1924 
Bassoon 1923, 1924 
Soprano 1908 
Pianist 1904, 1907, I9II 
Contralto 1915, 1916 
Soprano 1915 
Soprano 1923 


[ 220 | 


P. DoNATELLI 
ALFRED Doucet 
Nicuotas Doutry 
VLADIMIR DUBINSKY 
Marcet Dupre 
CuiarrRE Dux 

W. B. Esann 
Miscoa ELMAN 


MyrtiLze Etvyn 
GrorGES ENEsco 
Epwin Evans 
MILpRED Faas 

Jues FaLk 

VINCENT FANELLI, JR. 
FRANK L. FarreELu 
GERALDINE FARRAR 
Maube Fay 

IpETTE FEINMAN 
Mrs. LoGAN FELAND 
EmiLe FErir 

AuiceE FIDLER 
ADELAIDE FIsCHER 
Joun A. FiscHER 
Car FLEsca 

Feuix Fox 

Mary WoopFtzLD Fox 
CorNELIUS FRANKE 
OLIVE FREMSTAD 
Cart FRIEDBERG 
BLANCHE FRIEDMANN 
Moe. Povta Frijsu 
Rupo.F FRIML 
CLARENCE FUHRMAN 
Ossip GABRILOWITSCH 


JoHANNA GADsKI 


Rupo.ipeH GANZ 
SAMUEL GARDNER 
Mase GARRISON 
Epitn L. Gaste. 
Lucy GaTEs 

Eva GAUTHIER 
ELENA GERHARDT 


JEAN GERARDY 

JEANNE GERVILLE-REACHE 
Dinu GILLY 

FRANK GITTELSON 
THELMA GIVEN 


Tuba 192 

Oboe Bae 
Tenor 1905, 1907, 1914, 1918 
Cellist 1907 
Organist 1922 
Soprano 1922 
Cellist 1902 


Violinist 1909, 1912, 1913, 1914, 
1915, 1916, 1917 


Pianist 1914 
Violinist 1923, 1924 
Baritone 1915, 1919 
Soprano 1914, I915, 1919 
Violinist 1910 
Harpist 1914, 1923 
Pianist 1914 
Soprano 1919 
Soprano 1916 
Pianist 1917, 1922 
Soprano 1913 
Viola 1918 
Contralto 1918, 1919, 1920 
Soprano 1916 
Flutist 1922, 1923, 1925 
Violinist 1914, 1923, 1925 
Pianist 1903 
Pianist IgII 
Violinist 1902 
Soprano 1917, 1918 
Pianist 1917 
Soprano I9II 
Soprano 1918, 1919 
Pianist 1905 
Pianist 1915 
Pianist 1900, 1902, 1907, 1915, 
1916, 1917, 1918, 1919, 1920, 1923 
Soprano 1905, 1906, 1907, 
1908, 1915 

Pianist 1913, 1920 
Violinist 1919 
Soprano 1916, 1917, 1924 
Soprano 1912 
Soprano 1916 
Mezzo-Soprano 1922 
Soprano 1913, 1915, 1916, 
Lieder Singer 1917, 1921, 1922 
Cellist I9OI, 1905, 1922 
Contralto 1912, 1913 
Baritone 1913 
Violinist 1914, 1916 
Violinist 1920 


[221 | 


Atma GLuck 


Soprano 1910, I9II, 1914, 


1915, 1916 

LEOPOLD GoDowskyY Pianist 1912, 1916 
Dorotuy GoLDsMITH Pianist 1912, 1917 
Erriz LEtanp Goz Violinist 1915 
KATHARINE GooDsoNn Pianist 1908, 1909, 1913, 
1914, 1920 

Percy GRAINGER Pianist 1916 
Mrs. WitL1AmM Houston GREENE Soprano I9II, 1913 
CHARLES GREGOROWITSCH Violinist 1901 
HERMANN GREVESMUHL Violinist 1903 
Davip GRIFFIN Baritone 1915 
Bonarios GRIMSON Violinist 1913 
GEORGES GRISEZ Clarinet 1923 
Maup Grove Contralto 1910 
WALTER GUETTER Bassoon 1923, 1925 
Henry GURNEY Tenor 1915 
ARTHUR HacKkETT Tenor 1920, 1923 
Emity Stoxes HaGar Soprano 1915 
MarcGuEritE HAaty Contralto 1904 
Marie Hay Violinist 1905 
Marx HamsourG Pianist 1902, 1907 
RacuHet HaMILTon Soprano 1917 
VaHRAH HANBURY Soprano 1920 
Este STEwart Hanp Pianist 1903 
Harotp HansEN Tenor 1924 
THEODORE Harrison Baritone 1914, 1915 
ARTHUR HARTMANN Violinist 1906 
Suz HarvarpD Soprano 1913 
Huco HEERMANN Violinist 1905 
JascHa Herretz Violinist 1918 
ALEXANDER HEINEMANN Baritone and Lieder Singer 1912 
ANTON HEKKING Cellist 1907 
Otto HENNEBERG Horn 1923 
Rupotpx HENNIG Cellist 1901 
Myra Hess Pianist 1922 
FLoRENCE HINKLE Soprano 1910, I9II, 1912, 1913, 
1914, 1915, 1916, 1917, 1920, 1921, 1922 

ALLEN C. HINcKLEY Basso 1909 


JoserF Hormann 


Pianist I9OI, 1902, 1904, 1907, 


1913, 1915, 1917, 1918, 1919, 1922, 1923, 1924 


LoutsE HoMER 


Contralto 1905, 1908, 1913, 1914 


Horace R. Hoop Baritone 1913 
ANTON HorNER Horn 1923 
JosepH HoRNER Horn 1923 
Henry Hotz Basso 1918 
Mae Hotz Soprano 1917, 1919 
BRoNIsLAaw HuBERMAN Violinist 1922, 1923 
CaROLINE Hupson-ALEXANDER Soprano | 1914 
EsTELLE HuGHEs Soprano 1919, 1920 


Winner of Stokowski Medal 


see) 


i i a el) 


Extsa Atves HuNTER 
Ernest HutcHEson 
Maria IvoGun 

SASCHA J] ACOBINOFF 
RAFAEL JOSEFFY 

Ciara Yocum Joyce 
FRANCESKA K aspAR-LAWSON 
ALBERT KASTNER 

Emity Stuart KELLOGG 
Grace KERNS 
MarGARET KEYES 

W. M. Kincarp 

Hans K1nDLER 


Karu KieEIn 
CuHar.es E. Knauss 
Paut KocHANnskKI 
Titty KoENEN 


Aucusta KouNLE 
BENJAMIN KoHoNn 
Nina KosHetz 
ELKan KosMAN 
Fritz KREISLER 


RicHARD KRUEGER 
JoszepH La Monaca 
FrepgerRIc LAMOND 
Wanpba LANDOWSKA 


Epwarp LANE 


Soprano 1920 
Pianist 1906, 1908, 1910, 1915, 1921 
Soprano 1922 
Violinist 1917, 1918 
Pianist 1904 
Contralto 1913 
Soprano 1908, 1909, I9II, 1912 
Harpist I9OI 
Contralto 1907 
Soprano 1913 
Contralto 1911, 1914, 1916, 1917 


Flutist 1922, 1923, 1924, 1925 
Cellist 1915, 1916, 1917, 1918, 1919, 

1921, 1922, 1923, 1924, 1925 
Violinist 1907 
Pianist 1905, 1906, 1907, I9II, 1913 


Violinist 1921, 1923, 1924 
Contralto and 
Lieder Singer 1910, 1916 
Contralto 1913 
Bassoon 1914 
Soprano 1922, 1923, 1924 
Violinist I9OI, 1902 
Violinist 1901, 1902, 1905, 1907, 
1908, 1910, 1913, 1915, 1917, 1920, 1921 
Bassoon 1920 
Flutist 1925 
Pianist 192.4 
Pianist and 
Harpsichordist 1923, 1924 
Pianist 1922 


Winner of Stokowski Medal 


Mariz SToNE LANGSTON 

Epwarp LANKOW 

Francis LAPITtINO 
Earzz Laros 

_ FroreNnce LARRABEE 

Hutpa LasHANSKA 

Roserta LEE 

Maurits LEEFSON 

ALFRED LENNARTZ 

Wassix1 Leps 


Emi.ig Fricke LesHER 
Miscua LevitTzx1 

JoseFr LHEVINNE 

JosEF AND Rosina LHEVINNE 
James LresLinG 

ALBERT LINDQUEST 


Mezzo-Soprano = 1911, 1913, 1914 


Baritone 1920 
Harpist I9II, 1912 
Pianist 1914, 1916 
Pianist 1915 
Soprano 1921, 1924 
Soprano 1919 
Pianist 1907 
Cellist and Organist 1915 
Pianist 1908, 1910, 
IQII, 1912 _ 
Pianist | 1922 
Pianist 1921 
Pianist 1907, 1909 
Pianists 1922 
Cellist 1914 
Tenor 1917 


[223 | 


HusBertT LinscotTtT 

S. H. Lipscavetz 
Caro LITEN 

ALFRED LORENZ 
WaLDEMAR LuTsCHG 
MapELEINE McGuican 
J. CampsBeLt McINNEs 
MarGaret McMuLtLtiIin 
Guy Malrer 


ANDRE MAQuaRRE 
DaniEL MAQuaRRE 


MarviINnE MaAaZzEL 
Epwarp MacDowELu 
Witt C. MacFarLtaNng 
C. STANLEY Macxry 
Francis MacMiLien 
HeLten MacNamMez-Bentz 
CHARLOTTE MaconpDa 
JoHN MAarQuaRDT 

Mrs. JoHN MarqQuaRDT 
Hetena Marsu 

Henri MarTEAU 
FrREDERIC MARTIN 
GurNneEY Matrox 
MarGARET MATZENAUER 


GEORGE MEADER 
NicHoLtas MEDTNER 
Exusa MEIsKEY 
Katuryn MEIsLE 
YOLANDA MERO 


CAROLINE Minr-Harpy 
GwILyn MILEs 

Letit1a RapcuirreE MILLER 
SELDEN MILLER 


MarGaret ASHMEAD MITCHELL 


BENNO MolIsEIwITscH 
GrisHA MoNASEVITCH 


Basso 1924 
Basso 1912, 1913 
Dramatic Reader 1918 
Violinist 1904 
Pianist 1905 
Violinist 1915, 1916, 1917 
Baritone 1920 
Soprano 1919 
Pianist 
Cwith Lee Pattison) 1924,1925 
Flutist 1919, 1920, 1921 
Flutist IQII, 1912, 1913, 1914, 
1915, 1916, 1918 
Pianist 1920 
Pianist 1901 
Organist 1917 
Tuba 1914 
Violinist I9II 
Soprano IQII, 1913, 1914, 1915 
Soprano 1903 
Violinist 1903 
Harpist 1903 
Contralto 1923 
Violinist 1906 
Basso 1907 
Violinist 1915 
Contralto 1917, 1918, 1919, 
1920, 1921 
Tenor 1921 
Pianist 1924 
Soprano 1917 
Contralto 1918 
Pianist I9II, 1913, 1916, 
1921, 1924 
Soprano 1904, 1905 
Baritone 19OI 
Pianist 1916 
Pianist and Organist 1905, 1906 
Soprano 1915 
Pianist 1919, 1923 
Violinist 192.4 


Winner of Stokowski Medal 
Mezzo-Soprano 1923 
Winner of Stokowski 


Rutu MontTaGuE 


Epwarp Mumma Morris 
LAMBERT MurpuHy 


MarGUERITE NAMARA-LOYE 


Haroip Nason 

AGNEs THOMSON NEELY 
Orro NE&ITZzEL 

ANNA NEWHOFF 


Pianist 
Tenor 
Soprano 
Pianist 
Soprano 
Pianist 
Pianist 


[224 ] 


edal 


19744955 
1916, 1917, 1920 
1912 

1907 

1906 

1906, 1907 

1920 


Frank A. NicoLetra Harpist 1923 
Mitya NixiscH Pianist 1924 
Ersiz Nortu Soprano I9II 
Guiomar Novags Pianist 1917, 1921 
MAarGARETE OBER Soprano 1915 
Huco OLx Violinist 1902, 1903 
SIGRID ONEGIN Contralto 1922 
Lo ORNSTEIN Pianist 1919, 1921, 1925 
ANNA OTTEN Violinist 1902 
IGNacE JAN PADEREWSKI Pianist 1914 
Witu1aM H. Pacpin Tenor 1908 
KATHLEEN ParRLow Violinist 1911, 1916, 1921 
Lex Pattison Pianist 
Cwith Guy Maier) 1924, 1925 
FREDERICK PATTON Basso 1920 
Micuet PENHA Cellist 1920, 1921, 1922, 1923, 1924 
Louis PERsINGER Violinist 1912 
ALEXANDER PETSCHNIKOFF Violinist 1906, 1908 
May Prterson Soprano 1916, 1921 
FERNAND PoLiaIN Violoncellist 1918 
Mitprep Potter Contralto 1915 
Joun Powe i Pianist 1917, 1923 
Maup PowE Li Violinist 1914, 1916 
MicHazt Press Violinist 1924 
Raout Pucno Pianist 1903, 1906 
RoBert QuaiT Tenor 1920 
AGNES CLUNE QUINLAN Pianist 1910 
SERGEI RACHMANINOFF Pianist 1909, 1919, 1920, 1921 
Paut RaHMIG Double Bass 1914 
Harotp RANDOLPH Pianist 1906, 1909, 1910, 1913, 1915 
ALFRED REISENAUER Pianist 1905 
GERTRUDE RENNYSON Soprano I9II, 1914 
THapbpeEus Ricu Violinist 1906, 1907, 1908, 1909, 
1910, I9II, 1912, 1913, 1914, 1915, 1916, 1917, 1918, 1919, 1920, 
1921, 1922, 1923, 1924, 1925 
ALBERT RrEsE Horn 1923 
Mrs. ALBERT M. Rigi Soprano 1904 
Emma Roserts Mezzo-Soprano 1915, 1920 
CuRIsTIAN RODENKIRCHEN Trumpet 1914 
Max Rosen Violinist 1918 
Moriz RosENTHAL Pianist 1906, 1907 
ARTHUR RUBINSTEIN Pianist 1906, 1922 
CorNELIuUS RUBNER Pianist 1908, 1910 
Z1PPORAH ROSENBERG Soprano 1912, 1913 
Exsa RUEGGER Violoncellist 1903, 1906 
Exita RumsgEy Contralto 1920 
ALFRED SAAL Violoncellist 1905, 1906 
CAMILLE SAINT-SAENS Pianist 1906 
Cartos SALZEDO Harpist 1918, 1919 
Caros SALZEDO Pianist 1924 


[225 ] 


ve 


Ouca SAMAROFF 


Pianist 1905, 1906, 1907, 1909, 


1914, 1915, 1916, 1917, 1918, 1919, 1920, 1921, 1922, 1925 


HERMAN SANDBY 


Emit SAUER 

EmiILe SAURET 
ErNeEsT SCHELLING 
Hans ScHLEGEL 
Emi F. Scamipt 

E. Rosert ScHMITz 
ALEXANDER SCHMULLER 
ARTUR SCHNABEL 
ALWIN SCHROEDER 
EDMUND SCHUECKER 
Max ScHULTZ 


Violoncellist 1902, 1904, 1908, 
1909, 1910, I9II, 1912, 1913, 1914, 1915, 1916 
Pianist 1908 
Violinist 1905 
Pianist 1905, 1913, 1915, 1917, 1922 
Flutist 1925 
Violinist 1920 
Pianist 1920 
Violinist 1921, 1922 
Pianist 1923 
Violoncellist 1905, 1908, 1909 
Harpist 1909 
Violinist 1904 
Contralto 1902, 1904, 1906, 1907, 


ERNESTINE SCHUMANN-HEINK 


Oscar SCHWAR 

Cyrit ScoTr 

Henri Scott 

Oscar SEAGLE 
VIVIENNE SEGAL 

Mrs. F. A. SEIBERLING 
ToscHa SEIDEL 
JOHANNES SEMBACH 
MarcELLA SEMBRICH 
ARRIGO SERATO 

Juxes J. SERPENTINI 
IRMA SEYDEL 

ARTHUR SHATTUCK 
Oscar SHUMSKY 
ALEXANDER SILOTI 
Bruce SIMONDS 
GARDELL SIMONS 
MARGARET SITTIG 
JEAN SKROBISCH 

Mrs. FarrRINGTON SMITH 
Davip SOKOLOVE 
ALBERT SPALDING 
AuGust SPANUTH 
JANET SPENCER 
THEODORE SPIERING 
Maup SpROULE 
HELEN STANLEY 
EvELYN STARR 
GERTRUDE May STEIN 
FRIEDA STENDER 

S. Tupor STRANG 

G. RussELL STRAUSS 
PauLINE STRAuUSS-DE AHNA 
Henry Sucu 


IQII, 1912, 1914, 1916 


Tympanist 1923 
Pianist 1920 
Basso 1915 
Baritone 1915 
Soprano I9I§ 
Contralto 1913 
Violinist 1918, 1919 
Tenor 1915, 1916, 1917 
Soprano 1902, 1913 
Violinist 1921 
Clarinet 1923 
Violinist 1913 
Pianist 1918 
Violinist 1924 
Pianist 1922, 1923 
Pianist 1922 
Trombone 1924 
Violinist 1921 
Tenor 1915 
Soprano 1916 
Pianist 1924 
Violinist 1915, 1916 
Pianist 1903 
Contralto 1908 
Violinist 1917 
Contralto 1902 
Soprano PASaE zee 
Violinist 1915 
Soprano 1902 
Soprano 1906 
Organist 1910, I9II 
Baritone 1909 
Soprano 1904 
Violinist 1912 


aoe 


Rosg and Ortixrz Sutro 
MicHakEL SVEDROFSKY 
Noa H. Swayne, 2D 
MarGueERITE SYLVA 
Marceu TABUTEAU 


PasQUALE TALLARICO 
Emit TELMANYI 
Macaig TEYTE 
Jacques THIBAUD 


DoroTHEA THULLEN 
Henry Gorpon THUNDER 
WILLIAM SYLVANO THUNDER 


ANTON TORELLO 

Ruts TowNnsEND 
EvaLyn Tyson 

ALINE VAN BARENTZEN 
Marcia VAN DressER 
ExLiison Van Hoosz 
Henri VARILLAT 

Ferenc VECSEY 

Romain VERNEY 

Paut VoLKMANN 
CoNsTANTIN VON STERNBERG 
JULIAN WALKER 

HELEN WARE 

ALMA WEISSHAAR 
HuntTER WELSH 

FLORENZ WERNER 
REINALD WERRENRATH 
CLARENCE WHITEHILL 
CHARLOTTE DeMuTH WILLIAMS 
Ernest WILLIAMS 

Evan WILLIAMS 

ArTHUR HoweELit WILSON 
~Frora WILson 

Rosatig WIRTHLIN 
HERBERT WITHERSPOON 
Joun K. WitzEMANN 


Lupwic WULLNER 
EuGENE YSAYE 
CAMILLE ZECKWER 
Mariz ZECKWER-HOLT 
ErremM ZIMBALIST 


MariE KuNKEL ZIMMERMAN 
AuGustaA ZUCKERMANN 


Pianists 1916 
Violinist 1905, 1906 
Basso 1911 
Soprano IQII 
Oboe 1915, 1917, 1920, 1921, 
1923, 1924 

Pianist I9II, 1913 
Violinist 1921 
Soprano 1919, 1920 
Violinist 1903, 1904, 1917, 1918, 
1919, 1920, 1921, 1922 

Soprano 1913 
Organist 1916 


Organ and Harmonium 1915, 1916, 
1917, 1920, 1921 
Double Bass 1914, 1917, 1920, 1921 


Mezzo-Soprano 1915 
Pianist 1919 
Pianist 1916, 1917 
Soprano 1918, 1919 
Baritone 1903, I912 
Baritone 1912 
Violinist 1921 
Viola 1921, 1922, 1923 
Tenor 1904, 1908 
Pianist 1903, 1905, 1910, 1916 
Basso 1904 
Violinist 1913, 1914 
Soprano 1912 
Pianist 1914 
Violinist 1902 
Baritone 1916, 1917, 1920, 1921 
Baritone I9II, 1916 
Violinist 1921 
Trumpet 1921 
Tenor 1913 
Pianist I9IO, I9II 
Soprano 1910 
Contralto 1917 
Basso 1915, 1917 
Violinist 1902, 1903, 1904, 1906, 


1910, 1913, 1915, 1916 
Reader and Liedersinger 1908, 1910 


Violinist 1904, 1913 
Pianist 1904, 1913, 1914 
Soprano 1907, 1908, 1910, 1917 
Violinist 1912, 1914, 1916, 

1918, 1919, 1921 
Soprano 1902, 1905, 1906, 1907 
Pianist 1902 


[227 ] 


ee 


APPENDIX H 


SOME OF THE PRINCIPAL PLAYERS IN THE VARIOUS 
SECTIONS OF THE PHILADELPHIA ORCHESTRA 
1900-1925 


Tuappeus Ricu, Assistant Conductor and Concertmaster 


Dr. Thaddeus Rich, who has been the concertmaster of the Philadelphia 
Orchestra since 1906, was born in Indianapolis. He began to play the 
violin in 1893, and when he was twelve years old showed such remark- 
able talent that he was sent to Leipsig, where he entered the Leipsig 
Conservatory, graduating with honors at the age of fifteen. In 1901 he 
accepted a position as first violinist with the famous Gewandhaus 
Orchestra under Arthur Nikisch, and two years later he went to Berlin 
as concertmaster of the Charlottenburg Opera. Here he studied violin 
with Joachim and composition with Pfitzner. In 1905 he returned to 
America, and Fritz Scheel, who was then conductor of the orchestra, 
heard him play and immediately engaged him as concertmaster. At his 
performances in Philadelphia he has played nearly every modern and 
classic concerto of value in violin literature. 


Hans Kinpter, First Violoncellist—19 16-20 


Hans Kindler was born in Rotterdam, Holland, and was educated in 
in the High School and University of that city. When he was nine years 
old he began to play the ’cello, and later he attended the Rotterdam 
Conservatory, where he studied under Mossel, Jean Gerardy, and Casals. 
He was for two years solo cellist with the Deutsches Opernhaus, Berlin- 
Charlottenburg, and during his residence in Berlin he taught the ‘cello 
at the Scharwenka Conservatory. Mr. Kindler has appeared with the 
principal orchestras in Berlin, Amsterdam, Birmingham, and Hanover, 
under such famous conductors as Mengelberg, Kunwald, Schonberg, 
Landon Ronald, etc. He has also played in joint recitals with Julia Culp, 
Xaver Scharwenka, and Ferruccio Busoni, who dedicated to him a 
transcription of a Chromatic Fantasy by Bach. He has also played for 
the Queen of Holland and for the Prince and Princess of Wied in Berlin. 


Davin Dusinsxy: First second Violinist, was born in Odessa, Russia, 
educated in Philadelphia. Began his musical education at the age of 
eleven. Studied the violin under-Schradieck and Sauret. Original mem- 
ber of Philadelphia Orchestra. Four seasons in Pittsburg Orchestra 
under Emil Paur, serving as principal second violin. Played in Cincin- 
nati Orchestra in May Festivals of 1906 and 1914 Boston Festival 
Orchestra. Engaged for Philadelphia in 1908. 


Romain JosepH Verney: First Viola, was born in Paris, France, grad- 
uated with honors from the Paris Conservatory, where he studied under 


[ 228 | 


Theophile Laforge, at the age of eighteen. Was one of the principals at 
the Opera Comique and played in the Concerts Colonne. Came to this 
country in 1906 to be first viola with the New York Symphony Orches- 
tra, where he remained for five years, and from there went to the 
Chicago Grand Opera Company. Engaged for Philadelphia Orchestra 1920. 


Wirit1amM Morris Kincarp: First Flute, was born in Minneapolis, 
educated at Punahan, Honolulu, also Columbia University. While liv- 
ing in Hawaiian Islands began to study the piano at the age of seven, 
flute at the age of eight, and after moving to the United States, the 
organ. He studied the flute at Institute of Musical Art with George 
Barrére, from which he graduated in the regular and artist course. He 
played with New York Symphony Orchestra for five years. Soloist at 
concerts in and around New York and on tour with New York Sym- 
phony and New York Chamber Music Society. Engaged for Philadelphia 


Orchestra in 1921. 


Marcet Tasuteau: First Oboe, was born at Compiégne (Oise), France. 
He began his musical studies at the age of six, with his brother-in-law, 
a well-known violinist. At the age of thirteen he became a pupil at 
Paris Conservatory under Georges Hillet, the famous master of the 
French Oboe School, where he studied five years. In 1904 was awarded 
the first prize at Paris Conservatory. His teacher advised him to come 
to this country and recommended him to Walter Damrosch, with whom 
he played for several seasons, and in 1908 was engaged by Toscanini at 
the Metropolitan Opera House. Engaged for Philadelphia Orchestra in 1913. 


ANTON Horner: First Horn, was born in Gossengrun, Bohemia. He 
began to play the violin at the age of eight under his father’s instruc- 
tion, who was a professional musician; began to learn the horn at thir- 
teen, entered Leipsig Conservatory at fourteen where he studied for 
over three years, violin under Hans Becker, and horn under Frederick 
Gumbert. Three years with Pittsburgh Orchestra. (Also plays violin.) 
Engaged for Philadelphia Orchestra in 1902. 


RicuarD Krtcer: First Bassoon, was born in Berlin, Germany. Re- 
ceived private instruction in violin and piano from the age of twelve to 
fourteen; then four years at the Parlow Conservatory of Music, Berlin, 
being a pupil of Otto Schoenberg in the study of the bassoon. Played. 
with Symphony Orchestra at Aix-la-Chapelle and Cologne, and under 
the direction of Richard Strauss, Felix Weingartner, Felix Mottl and 
Fritz Steinbach, also with Theodore Thomas Orchestra in Chicago. 
(Also plays piano and violin.) Engaged for Philadelphia Orchestra rgor. 


Antonio Toretuto: First Double Bass, was born at San Sadurni de 
Noya, Province of Barcelona, Spain. Received his musical education at 
the Municipal School of Music at Barcelona. Began to play bass at the 
age of ten, played in an orchestra and at fourteen was playing solos. 
Played in the following orchestras: Associacion Musical de Barcelona, 
Boston Opera Orchestra, Boston Festival Orchestra, has been heard as 


[229 |] 


soloist in Spain, Portugal and Madeira Island, and in the United States 
during the Boston Festival Orchestra tour in 1911, all through the New 
England States, Pittsburgh, Denver, Cleveland, etc. Came to America in 
1909. Engaged for Philadelphia Orchestra in 1914. 


Daniet Bonave: First Clarinet, was born in Geneva, Switzerland. 
Studied the clarinet under M. Lefébre (solo clarinet at Paris Opera) 
in 1904, and won first prize at Paris Conservatory in 1913. Played in 
Paris in Sechiari Symphony Orchestra and in Monteux Symphonic 
Orchestra (Paris). Engaged for Philadelphia Orchestra in 1917. 


SoLoMON CouEN: First Trumpet, was born in New York City. Began 
studying trumpet in 1912 under Mr. Shlossberg of the New York Phil- 
harmonic; then studied harmony under Hedda van dem Beemt. Engaged 
for Philadelphia Orchestra 1918. 


J. Water Guetter: First Bassoon, was born in Philadelphia. Studied 
violin from nine to fourteen years of age; at fourteen began study of 
bassoon and piano. From r1g1o to 1914 studied at Klindworth Schar- 
wenka Conservatory of Music, Berlin, under Adolf Guetter, principal 
bassoonist of former Royal Opera. With Chicago Symphony Orchestra 
from 1915-22. Appeared as soloist with local Orchestra at St. Markner- 
kirchen, Saxony, in 1914; in Chamber Music Concerts in Chicago and 
Philadelphia; with Philadelphia Orchestra at Children’s Concerts in 
1923. Engaged for Philadelphia Orchestra in 1922. 


Micuet Penua: First Cellist, 1920-1925, was born in Amsterdam, 
Holland. He began his general musical education at Amsterdam Con- 
servatory, and studied under Professors Mossel, Hugo Becker and Joseph 
Salmen. Toured as soloist in Europe, Indies, South America and United 
States. Engaged for Philadelphia Orchestra in 1920. 


Wiii1aM Oscar ScHwar: Tympanist, was born in Bautzen, Saxony, 
Germany. Began to play the violin at the age of ten. Studied tympani 
under Mr. Heinemann, first tympani player at the Royal Opera and 
teacher at Royal Conservatory at Drader Germany. Was a member of 
the Royal Opera at St. Petersburg, and has played in all the leading 
cities of Germany and European countries under the following musical 
directors and in the cities here cited: Felix Mottl, Karlsruhe; Treckler, 
Dresden; Sauer, Coblentz, Frischen, Hanover. Shortly after joining the 
Philadelphia Orchestra he made a sensation by his wonderful playing in 
the overture ‘Romeo and Juliet’’ by Tschaikowsky. When he had fin- 
ished, the entire orchestra applauded him with great enthusiasm, an 
action which is seldom pacaed a member of an orchestra in rehearsal 
by his colleagues. (Also plays snare drum, bells and xylophone.) En- 
gaged for Philadelphia Orchestra in 1903. 


GarDELL Simons: Trombone, was born at Allegan, Michigan. He began 
the study of the trombone at the age of nine and a few years later com- 
menced a systematic course of study in Chicago. Since it was difficult at 
that time to get instruction of a high order from Trombonists he relied 
mostly upon singers and instrumentalists of repute for his instruction in 


[ 230 ] 


breathing, phrasing, articulation and expression, and at length became 
one of the originators of the Modern School of trombone playing; also 
studied harmony and composition to some extent. Played first trom- 
bone with Philharmonic Orchestra, New York City, Arens ‘‘People’s 
Symphony,’’ Volpe Symphony and others. Wide experience as soloist 
with concert bands and concert companies, etc., and plays mostly his 
Own compositions or violin music adapted by himself to the trombone. 
Engaged for Philadelphia Orchestra 191s. 


DanireL Maquarre: First Flute, 1910-1918, was born in Brussels. 
When five years old he began the study of music in Paris, and in 1893, 
entered the National Conservatory of Paris to study flute and harmony; 
in 1896 he won the first prize for the flute. Toured in the United States 
as soloist with Mme. Emma Nevada in 1901, and was for two years 
soloist with Longy Club, of Boston. In 1902 became member of the Bos- 
ton Symphony Orchestra, where he remained for seven seasons; also one 
season with New York Philharmonic. Organized the D. Maquarre 
Ensemble of Instruments in fall of 1913 in Philadelphia. Engaged for 
Philadelphia Orchestra 1910. 


AnpDrE Maquarre: First Flute, 1918-1920, was born in Brussels. 
Began his musical studies at the age of eight at the Paris Conservatory, 
with Solfegio and Piano under Martini, also studied Harmony with 
Landon, Flute with Henry Altes and Composition with Massenet. 
Played in several orchestras in Paris, also Opera. Joined the Boston 
Symphony Orchestra in 1898 as solo flute, and from 1906-1917 was con- 
ductor of the Boston Symphony Orchestra during the period of the 
‘‘Pop’’ Concerts season at Symphony Hall. Wide soloist experience in 
Symphony orchestras, chamber music organizations, also obligato with 
singers, such as Melba, Gilibert and others. Founded the Maquarre 
Sextet in Boston in 1901. Composed three operas and a number of orches- 
tral pieces in Symphonic form, an overture played by the Boston Sym- 
phony Orchestra; and chamber music for wind choir and songs. Engaged 
for Philadelphia Orchestra 1918. 


Peter HENKELMAN, First English Horn and Oboe, was born in Heusden, 
Holland. Attended school in Holland, and at the age of seven began 
to study the violin. A few years later he began the study of the piano, 
and at the age of thirteen entered the Royal Conservatory at The 
Hague, where he started to study the oboe and English horn, as well. 
as continuing his studies of the violin, piano and theory. He has 
played with the City Symphony Orchestra at Haarlem and Utrecht, 
the Winderstein Orchestra of Leipzig, the Symphony Orchestra of 
Budapest, the City Orchestra of Heidelberg, as well as with the 
Concertgebouw of Amsterdam. Engaged forthe PhiladelphiaOrchestra 1901. 


[231] 


APPENDIX | 


ParTIAL List oF ‘‘First PERFORMANCES’ IN AMERICA 
Avuric—Nocturne (January 26-27, 1923) 
Briss—Mélée Fantasque (February 27-28, 1925) 
Braunrets—Fantastic Variations (October 14-15, 1921) 
CarpENTER—'‘A Pilgrim Vision’’ (November 26-27, 1920) 
ConversE—'‘The Mystic Trumpeter’’ (March 3-4, 1905) 
Dz Fatta—Excerpts from ‘‘El Amor Brujo’’ (April 15-17, 1922) 
D'Inpy—Symphony No. 2, in B flat (December 30-31, 1904) 
D'Inpy—'‘Wallenstein’’ (December 19-20, 1902) 
Dvorax—Heldenlied (December 27-28, 1901) 
FITELBERG—Polish Rhapsody (November 4-5, 1921) 
GLazounow—Scénes de Ballet (February 24-25, 1905) 


pe neapa testi and Epiloque from ‘*‘Goyescas’’ (March 10-11, 

1916 

HausEGGER—Symphonic Poem, ‘‘ Wieland der Schmied’’ (October 17-18, 
1913) 

Maxuvter—Symphony No. 8 (March 2, 1916) 

Mauiter—Das Lied von der Erde (December 16, 1916) 

DanitEt Gregory Mason—Symphony No. 1, in C minor (February 
18-19, 1916) 

Purcett—Trumpet Prelude (December 26-27, 1924) 

Rasaup—Symphony No. 2, in E minor (October 24-25, 1913) 

RacHMANINOFF—Symphony No. 3, ‘“The Bells’’ (February 6-7, 1920) 


Rimsky-Korsaxow—Excerpts from ‘‘Kitesch’’ (Solitude and The 
Battle), (October 26-27, 1923) 


ScHELLING—A Victory Ball (February 23-24, 1923) 

amie aC No. 3, ‘‘Le Divin Poéme’’ (November 19-20, 
1915 

S1nELIUs—Symphony No. 5, in E flat (October 21-22, 1921) 

RicHarp Strauss—Alpensymphonie (April 28-29, 1916) 

Strawinsky—Le Chant du Rossignol (October 19-20, 1923) 


STRAWINsSky—Symphonies d'Instruments 4 Vent, a la mémoire de Claude 
Achille Debussy (November 23-24, 1923) 


Strawinsky—Sacre du Printemps (March 3-4, 1922) 


[232 ] 


CoNCERTOS 


Max Bruca—Concerto for two Pianos and Orchestra (December 29-30, 
1916) First World Performance. 


Merptner—Concerto in C minor for Piano and Orchestra (October 31- 
November 1, 1924) 

aay Concerto for Piano and Orchestra (February 13-14, 
1925 

oon for Violin and Orchestra (November 28-29, 
1924 

TAILLEFERRE—Concerto for Piano and Orchestra (March 20-21, 1925) 


Performances of the Ninth Symphony of Beethoven: 

March 26, 1903; January 1-2, 1904; February 7-8, 1907; February 
27, 1907 (Baltimore); March 13-14, 1914; May 7-8, 1920; December 
3-4, 1920; April 8, 1921 (Pittsburgh); February 21, 1924 (Toronto); 
March 4, 1924 (New York); March 6, 1924 (Philadelphia with Mendels- 
sohn Choir of Toronto) 


[233 ] 


APPENDIX J 


PROGRAMMES OF S1x CONCERTS OF THE PHILADELPHIA ORCHESTRA 
First SEASON 1900-1901 


PHILADELPHIA ORCHESTRA 
Mr. Fritz Scuze., Conductor 


FIRST CONCERT 
Friday, November 16, 1900, at 8.15 P. M. 


PROGRAMME 
Cart GOLDMARK Wi. oe eee ee Overture, ‘‘In Spring,’’ Op. 36 
Lupwic VAN BEETHOVEN......... Symphony No. 5, C. minor, Op. 67 
E. Allegro con-brio............7., rr tA 
II. Andante con moto........-... sp 3-8 
It, Allegro.) oe 41—4 
IV. Allegro. 2.02.6 oss ley er 4-4 
Intermission of ten minutes 
Prter Ititsch TscHAIKOWSKY......... Concert for Pianoforte, No. 1, 
B. flat minor, Op. 23 
I. Allegro, non troppo e molto maestoso.......... 3-4 
TI. Andantino simplice: ......... she 6-8 
WW. Allegro con fuoco,. >... J.4 ) 2 3-4 
Kart Marta von WEBER......... ‘Invitation to the Dance,’ Op. 65 
Orchestration by Felix Weingartner 
Ricnarp WAGNERi sce ee Entry of the Gods into “‘Walhalla’”’ 


Mr. Ossip GasritowlTscu, Soloist 


SECOND CONCERT 
Friday, December 14, 1900, at 8.15 P. M. 


PROGRAMME 
Lupwic vAN BEETHOVEN... 4.4... Overture Leonore, No. 3 


JOHANNES BRAHMS...) 20 ven ns ae Symphony No. 2, D major, Op. 73 
I. Allegro non troppo 
II. Adagio non troppo 
III. Allegretto grazioso (Quasi Andantino) 
IV. Allegro con spirito 
AMBROISE, THOMAS... .2.... . s8) cte ‘“Mad Scene’ CHamlet) 
Intermission of ten minutes 


Prrsr I: TschatKowsky-. 3.22.54) ee Serenade for Strings, Op. 48 
Andantino non troppo—Allegro Moderato 
Moderato, Tempo di Valse—Larghetto 
Elegiaco—Andante, Allegro con spirito 


[234 ] 


Songs 
“Spring Has Come’’ (Hiawatha), Tyler 
“Skylark,’’ Handel 
“An April Birthday,’’ Ronalds 


Pee MOE ANN ci ee ee cee es “Vitava’’ CMoldau) 
From Symphonic Poem ‘‘My Fatherland”’ 


Mme. Litxt1an Buavve tt, Soloist 
SELDEN MitiEeR, Accompanist 


THIRD CONCERT 
Friday, January 18, 1901, at 8.15 P. M. 


PROGRAMME 
Ok COL Le A Faust Overture 
Lupwic vAN BEETHOVEN.................. Symphony No. 4, Op. 60 
I. Adagio—Allegro Vivace 


II. Adagio 
Ill. Allegro Vivace 
IV. Allegro ma non troppo 


Intermission 
la VES 9 a ge Concerto No. 2, Op. 19 
I. Allegro 
II. Andante 
III. Rondo—Allegro 
NGULBee) FIUMPERDINCK..-. 4.26.65 e ieee eae Moorish Rhapsody 


I. Tarifa (Sunset Elegy) 
Il. Tanger (A Night in a Moorish Cafe) 
III. Tetuan (A Ride in the Desert) 


Mr. Fritz Kreister, Soloist 


FOURTH CONCERT 
Friday, February 8, 1901, at 8 P. M. 


PROGRAMME 
Sem EC ITICRIST oe ak ct ee eee agen Symphony in C 
I. Introduction, Vivace Impetuoso. Allegro Molto 
II. Adagio, Andante Moderato 
ME Scherzo, Vivace 
IV. Finale, Molto Allegro 
ee NIACLIOWELL. 2 oe vee ee 8s Concerto for Piano No. 2 
I. Larghetto. Poco piu Mosso e con Passione 


II. Presto Giocoso 
III. Largo. Molto Allegro 


PART OLADYA VON WEBER, .... 0 ce ecee ta ce ces Overture ‘“Oberon"’ 
SC CT ere Berceuse for Strings, from Op. 68 
Miminnich HOFPMANN..,.........0300% Elves and Giants, from Op. 22 
METTNET VOU AM 8s ss inns sneaks Slavonic Dances III and VII 


Epwarp MacDowEg 1, Soloist 


[235 ] 


FIFTH CONCERT 
Wednesday, March 6, 1901, at 8.15 P. M. 


PROGRAMME 
Cart! GOLDMARK Onc ue ay se ene Overture “‘Sakuntala,’’ Op. 13 
AUGUSTU LINDNER Hahn Gees Concerto for Violoncello, E minor 


a. Serenade—Andante 
b. Tarantelle—Allegro Vivace 
Prrer [scHAIKOWSKY).». 2.00.0 <2 Symphony ‘‘Pathétique,’’ Op. 74 
I. Adagio—Allegro non troppo 
II. Allegro con Gracio 
III. Allegro Molto Vivace 
IV. Finale—Adagio Lamentoso 
Pranz Drszv. pois Scene 5s soon oo ee Les Préludes 
Mr. Rupotex Hennic, Soloist 


SIXTH CONCERT 
Friday, April 19, 1901, at 8.15 P. M. 
PROGRAMME 
JoacHim RARE. oi) Pe ee ee Symphony ‘‘Im Walde”’ 
I. Allegro 
II. Largo—Allegro Assai 
III. Allegro 


Enuarn GRikg (5 sick ak ss ae ee Concerto for Piano in A flat 
I. Allegro Moderato 
II. Adagio 
III. Allegro Moderato 
Peter TsCHAIKOWSKY........ Overture—Fantasie, ‘‘Romeo and Juliet”’ 


Mone. TEeresA CarRENO, Soloist 


[ 236 ] 


APPENDIX K 


THE WoMEN’s CoMMITTEES FOR THE PHILADELPHIA ORCHESTRA 
1924-1925 : 
(Formed March, 1904 
Miss Frances A. WisTer, President 
Mrs. Haroup Ettis YarNALL, Vice-president 
Mrs. Cuartes W. Henry, Vice-president 
Mrs. Cuartzs R. Woop, Recording Secretary 
Mrs. Witt1am W. Arnett, Corresponding Secretary 
Mrs. ALFRED REGINALD ALLEN, Treasurer 
Miss Frances A. WistEr, General Secretary for the Endowment Fund 


HonorARY VICE-PRESIDENTS 


Mrs. ALEXANDER W. BIDDLE Mrs. ArTHuR E. NewBoip 
Mrs. JoHN CADWALADER Mrs. Morris PFaELZzER 
Mrs. A. J. Datias Dixon Miss ANNE THOMSON 
Mrs. GeorcE W. C. DrexEn Mrs. Wm. Austin SLAUGHTER 
Miss Mary K. Gipson Mrs. Epwarp T. STOTESBURY 
Mrs. Austin S. HeckscHER Mrs. CHARLEMAGNE TOWER 
Mrs. Cuartes E. INGERSOLL Mrs. ALEx. VAN RENSSELAER 
Mrs. C. Hartman Kuun Mrs. J. Witt1am WHITE 
Mrs. James McCrea Mrs. CHARLTON YARNALL 
Mrs. THomas McKean 

DrrEcToRS 
Mrs. THomas G. AsHTON Miss Nina Lea 
Mrs. RusseELt DuANE Mrs. JosepH Lripy 
Miss GERTRUDE ELy Mrs. THomas Rosins 
Mrs. Simon B. FLeisHER Mrs. JoHN B. THAYER, 3D 
Mrs. JosepH M. GazzamM Mrs. SypNEY THAYER 
Mrs. Frank T. GriswoLp Mrs. Joun B. TowNnsEND 
Mrs. Henry S. JEANES Mrs. GreorcE F. Tyter 

Ex-oFFICIO 


Germantown—CounTess oF SANTA EULALIA 
West Philadelphia—Mrs. L. Howarp WEATHERLY 
Delaware County—Mrs. Matruew H. Cryer 


GERMANTOWN AND CHESTNUT Hitt WoMEN’s COMMITTEE 
(Formed March, 1905) 


CounrTEss OF SANTA EvLatiA, President 

Mrs. Cuaruzs E. Moreau, First Vice-president 

Mrs. Henry W. Raymonp, Second Vice-president 

Mrs. Witu1aM Jay Turner, Third Vice-president 

Miss RossmassLtER, Recording Secretary 

Mrs. W. Beaumont Wuitney, Corresponding Secretary 

Mrs. Ricuarp RossMassLeR, Treasurer 

Miss Frances A. Wister, General Secretary for the Endowment Fund 


[237 ] 


Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 


Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 


D1rEcTORS 


FRANKLIN BAKER, JR. Mrs. TuEron I. Crang 

Wo. L. Barciay Mrs. Norton Downs, Jr. 
GrorcE C. Bowker Mrs. Wo. W. Frazier, 3D 
Wo. P. M. Braun Mrs. FrEDERIC GARDINER 
Henry W. ButTrERwortTH Mrs. GeorGE Horace Lor1MER 
Cartes S. CHESTON Mrs. JosepH A. LoucHHEIM 

J. Hamitton CHEsTON Mrs. Wo. Prick NEWHALL 
Epw. W. Cuark, 3D Mrs. Epwarp A. SCHUMANN 


Morris LLEWELLYN CooKE 


West PHILADELPHIA WOMEN’s COMMITTEE 
(Formed April, 1905) 
OFFICERS 
L. Howarp WEATHERLY, President 
C. Lincotn Fursusu, First Vice-president 
Wit1am S. Newcomer, Second Vice-president 
AuFreD H. Perrrer, Recording Secretary 
Cuarues L. MitcHeti, Corresponding Sectetary 


Mrs. SAMUEL S. Fes, Treasurer 

Miss Frances A. WisTerR, General Secretary for the Endowment Fund 
D1rEcTORS 

Mrs. PErtey DuNN ALDRICH Mrs. Joun S. W. Hotton 

Miss MARGUERITE BEMENT Mrs. Wy tus K. INGERSOLL 

Mrs. Haroip BorrIcKE Miss AMELIA JUSTI 

Mrs. JoHn J. BorRIckE Mrs. Joun M. KENNEDY, JR. 

Mrs. Epwarp W. Box Mrs. H. McKnicut Moore 

Mrs. Joun F. Braun Mrs. Epwarp L. Perx1ns 

Miss Mary BurNHAM Mrs. Frank REap, Jr. 

Mrs. CHARLES CARVER Mrs. Harotp E. Roserts 

Mrs. Lewis R. Dick Mrs. A. M. Starr 

Mrs. F. W. Fercuson Mrs. Witt1AmM A. SULLIVAN 

Mrs. G. W. B. FLetcHer Mrs. W. Mosgetzey Swain 

Mrs. Cotutin Foutxrop Mrs. ARTHUR WILSON 

Mrs. James Woops Fry Mrs. CAMILLE ZECKWER 

Mrs. Herspert T. HERR 


DELWARE County WoMEN’s COMMITTEE 
(Formed May, 1911) 


BOARD OF MANAGERS 
OFFICERS 


Mrs. Martuew H. Cryrzr, President 

Mrs. Samuet S. Buran, First Vice-president 
Mrs. J. S. C. Harvey, Second Vice-president 
Mrs. Harry H. Battuzs, Third Vice-president 
Mrs. Henry VotkKMAr GuMMERE, Secretary 
Miss BeuutaH C. GARRETSON, Treasurer 


[238 ] 


0 a 


Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 
Mrs. 


Mrs. 


FRANK AYDELOTTE 

J. CraupE Beprorp 
Wixu1AM H. BissTer 
SAMUEL DyER CLYDE 
Morton P. DickEson 
WILLIAM Eassy 
ALBERT Fox 

Harotp C. Gopparp 
Epwarp F. Hitcuacocx 
BENJAMIN R. HorrmMan 
Epwarp K. Inngs 
Rosert F. Irwin 
Wits D. JamMEsOoN 

E. R. Keiier 

N. B. Ketry 


Mrs. S. LEonarp Kent, Jr. 
Mrs. Gipson McItvaIne 
Mrs. Rospert L. McLean 
Mrs. JoHn A. MILLER 

Mrs. T. HatpEAN Moore 
Mrs. CHarzes Musser 

Mrs. Gseorce BisPpHAM PAGE 
Mrs. A. A. PARKER 

Miss Epita Prerers 

Mrs. Ricuarp PEetsrs, Jr. 
Mrs. J. FrepErick Petry 
Mrs. J. Lorp Ricsy 

Mrs. Joun Davip SHattuck 
Mrs. CHANNING Way 

Mrs. Henry M. Wirz 


COMMITTEES OUT-OF-TOWN 
Tue DeLAwarE CoMMITTEE (1907-1908) 
(Wilmington) 
for 
THe PHILADELPHIA ORCHESTRA 
Formed May, 1905 
Mrs. Lewis C. VANpEGRIFT, President 
Mrs. Josepa Swirt, Vice-president 
Mrs. Witxiam Betts, Secretary 
Miss ANNIE T. FLINN, Treasurer 
Mrs. Orno Now.anp, Chairman Guarantee Fund 
Mrs. Ettwoop C. Jackson, Chairman Auxiliary Committee 
Mrs. A. H. Beruin, Chairman Press Committee 


JoHN BANCROFT Mrs. ALFRED R. JONEs 


Mrs. JoHn B. Birp Mrs. A. E. Kruse 

Miss MartHa BRADFIELD Miss Kurtz 

Mrs. Daniet M. BatTzs Miss Lorz 

Mrs. T. Lest1z CARPENTER Mrs. D. J. REINHARDT 
Mrs. ALLAN J. COLBY Mrs. J. E. Smrru 

Mrs. W. F. Curtis Mrs. Harry J. STOECKLE 
Mrs. Wiuu1AM K. pu Pont Mrs. CaLvin SWAYNE 
Mrs. Hartan GAUvusE Mrs. WILLIAM F. SELLERS 
Mrs. CuHartes E. GRIFFITH Mrs. Henry B. THompson 
Mrs. Norman Hux ey Mrs. Jamzes P. WINCHESTER 


Tur WASHINGTON COMMITTEE (1907-1908) 
for 
Tue PHILADELPHIA ORCHESTRA 


Formed May, 1906 
Miss A1LEEN Bei, Acting Chairman 


(Thenames of alargeCommittee and a list of Patronesses are unavailable.) 


[239 | 


Tue BaLtimore ComMITTEE (1907-1908) 
FOR [THE PHILADELPHIA ORCHESTRA 
Formed May, 1906 
Lawrason Riaos, Esqg., President 
His EMINENCE CARDINAL GIBBONS 
His ExcetteNcy GOVERNOR EDWIN WARFIELD 
Ricut REVEREND BisHop WILLIAM Paret, D.D. 


Hon. Cuarzes J. BONAPARTE 
BERNARD N. Baker, Esq. 
Frank Frick, Esq. 

J. Swan Frick, Esq. 

Gaun M. Hutton, Esa. 

Dr. Henry Barton Jacoss 
SiGNoR Pietro MINeETTI 
Puitip OGDEN, Esq. 

WILtson Patterson, Esq. 
Dr. THomas L. SHEARER 

R. Manson Situ, Esq. 
Joun MarsHatt Tuomas, Esq. 
Epwin L. Turnsu tt, Esq. 


JERE H. WHeEetwricat, Esa. 
J. B. Nozt Wyatt, Esa. 


Vice-presidents 
Mrs. Bernarp N. BAKER 
Mrs. Cuar.es J. BONAPARTE 
Mrs. Davin L. BarTLeTT 
Mrs. WiLu1aAM ELLicoTT 
Mrs. T. Harrison GARRETT 
Mrs. JoHN GILL 
Mrs. Gaun M. Hutton 
Mrs. Henry Barton JAcoss 
Mrs. Howarp MuNNIKHUYSEN 
Mrs. WILLIAM PARET 
Mrs. WiLtson PATTERSON 
Mrs. Netson PEerin 
Mrs. R. Manson SmitTH 
Mrs. JAMEs Mapison THOMPSON 
Mrs. Epwin WARFIELD 
Mrs. JERE WHEELWRIGHT 


Miss SHEARER, Chairman 


Honorary MANAGERS 
Mrs. W. S. BeLpING 
Mrs. JouN S. Berry 
Miss Ocravia BATEs 
Mrs. Freperick M. Cotston 
Mrs. J. S. ELtarp 
Mrs. Cartes M. FRANKLIN 
Mrs. RicHarD GRIFFITH 
Mrs. Paut Haupt 
Mrs. Davip HuTzLer 
Mrs. Grier HErsH 
Mrs. CHarves KEIpEL 
Mrs. C. ManiGauLt Morris 
Miss Mary L. Parxer 
Mrs. Freperick B. STIEFF 
Mrs. Witu1AM S. THAYER 
Mrs. SipNEyY TURNER 
Rev. F. Warp Denys 
Mites Farrow, Esq. 
Dr. CHaruses M. FRANKLIN 
EpwIn Frank, Esq. 
Maurice Greco, Esa. 
Dr. B. Merritt Horxinson 
EpwIn ScHENcK, Esq. 
CHARLES WEBER, JR., Esq. 


ActTIvE MANAGERS 
Miss BLoopGoop 
Miss BzesstzE CAMPBELL CLARK 
Mrs. Isaac Dixon 
Mrs. J. HAMsLEY JOHNSON 
Mrs. Ernest KNABE 
Miss LurRMAN 
Mrs. Epwarp H. McKzon 
Mrs. S. C. RowLanp 
Mrs. SIGMUND SONNEBORN 
Mrs. Oscar A. TURNER 
Mrs. CLARENCE WATSON 
Mrs. Rosert W. Woop 
Mrs. GeorGceE L. ZELL 
Freperick M. Cotston, Esq. 
Cuarzes E. Doug, Esa. 
Freperick H. Gortuies, Esq. 
Dr. Joun HEMMETER 
Rev. Outver HucKxeu 
ERNEST JENKINS, Esq. 
Rosert Oxiver Lenr, Esq. 
THEeoporE Marsurc, Esq. 
Rev. Joon Timotuy STONE 


Tue WomMEN’s COMMITTEE FOR THE PHILADELPHIA ORCHESTRA 


invites you to be present at a meeting in the interest of 


THe PHILADELPHIA ORCHESTRA 
to be held at the 


ARUNDELL CLUB 
1000 North Charles Street, Baltimore, 
on 


Thursday afternoon, December fourteenth (1905) 
at half after three o’clock 


Under the patronage of 


Mrs. Josran Law BiackwELL 
Mrs. ALEXANDER BROWN 
Mrs. Grorce Datuas Dixon 
Mrs. S. Naupain DuER 
Mrs. Wiiit1am M. Exticorr 
Mrs. GEorGE T. GiBson 
Mrs. Daniet C. GILMAN 
Mrs. JoHn P. Pork 

Mrs. Harotp RANDOLPH 
Miss Mary BuTLerR SHEARER 
Mrs. W. PLuNKETT STEWART 
Mrs. JEssE Tyson 

Mrs. GreorceE L. ZELL 


Music by 


Mrs. Tuomas S. Krrxsribe, Jr., Pianist 
and 
Mr. JoHn WitzEeMann, Violinist 


and Mr. AtrreD SaaL, Violoncellist 
Members of the Philadelphia Orchestra 


[241 | 


APPENDIX L 


ANNOUNCEMENT OF CHILDREN’S CONCERTS 
THe PHILADELPHIA ORCHESTRA ASSOCIATION 


Founded 1900 
Maintaining and Operating 

THE PHILADELPHIA ORCHESTRA 
104 Musicians 

Lrorotp Stoxowsk1, Conductor 

Special Announcement 
Children’s Concerts Season 1921-1922 
Wednesday Afternoons at Four 


December 14th, 1921 February 1st, 1922 
March 8th, 1922 


Academy of Music 
In Answer to a Long-Felt Need 


The Philadelphia Orchestra Association announces a 
Series of Three Children’s Concerts 
for the coming season under the auspices of: 


Tue Matinzz Musicay Cius THE CITIzEN's COMMITTEE 
Mrs. Frederick W. Abbott, Mrs. Frederick Rosengarten 
Chairman Chairman 
Mrs. Edwin B. Garrigues Mrs. Robert Von Moschzisker 
Mrs. Helen Pulaski Innes Mrs. John Hampton Barnes 


The Board of Education 

Dr. Edwin C. Broome, Superintendent of Schools, Philadelphia 

Dr. Enoch W. Pearson, Director of Music in the Public Schools 

Dr. Hollis Dann, Director of Music, State Dept. of Education 

The Women’s Committee for the Philadelphia Orchestra 

The Germantown & Chestnut Hill Women’s Committee for The 
Philadelphia Orchestra. | 

The West Philadelphia Women’s Committee for The Philadel- 
phia Orchestra 

The Media, Chester & West Chester Women’s Committee for 
The Philadelphia Orchestra 

The Civic Club of Philadelphia 

The New Century Club 


[242 ] 





The Philomusian Club 
The Pennsylvania Federation of Music Clubs 
The Philadelphia Association of Settlements 


These Concerts will be conducted by Mr. Stokowski, who has 
atranged a series of programmes lasting one hour, during which short 
talks will be given about the instruments, as well as about the selections 
played. 

The Concerts are for Children, and no adult will be admitted unless 
accompanied by one or more children. 


CoMMITTEE ON CHILDREN’S CONCERTS 


Miss Frances A. WisTER, Chairman 


Mr. Epwarp W. Box Dr. Cuarvzs D. Hart 
SCHEDULE OF PRICEs paige 
(No Tax) Concerts 
Patreranc oeicOny DOXES, Scating S1X.... 6... -6 6. esse ee $18.00 
Beaueenopaicony Boxcs, s¢ating four. ...............5+. 12.00 
fee iere eatcqueet Circle and Balcony Seats................5% cao 
ERE 0k ARES Sie eae a rr 1.50 
SE Siy Oye ch AR eA cas 


[243 | 


APPENDIX M 


PHILADELPHIA PERMANENT ORCHESTRA 
PROSPECTUS 
March 3, 1899 


The musical life of this city has reached a stage in its development 
that must make it apparent to all who are interested in the advancement 
of matters of art and education that if we are to continue the progress 
of the past few years and take our place as a city of any musical impor- 
tance, the next and most necessary step is the founding of a Permanent 
Philadelphia Orchestra. Such an undertaking is one that requires serious 
consideration, and the co-operation not only of our music-loving public 
but of all citizens who are interested in our civic progress. 

In order to establish an orchestra such as would be a distinct credit to 
the city, it is necessary to have a paid-up fund of not less than $250,000. 

The following Committee, before issuing this circular, have given the 
matter great consideration, carefully looked into various organizations 
in other cities, and feel confident that if they meet with liberal response 
Philadelphia will have in a few years an orchestra second to none in 
America. When Boston, Chicago, Cincinnati, Buffalo, Pittsburgh, and 
other cities, not nearly so large or so wealthy, have established perma- 
nent orchestras, it is surely time that we should interest ourselves and 
unite in aiding to form an organization in keeping with our size and 
importance. This will not be possible with less than the sum before 
mentioned, which they trust you will aid them in securing upon the fol- 
lowing terms and conditions: 

1. Subscribers shall not be bound by their subscriptions unless the 
sum of $200,000 shall have been subscribed. 

2. The fund shall be used only for the purpose of establishing and 
maintaining a permanent Philadelphia Orchestra, and it shall be 
applied for that purpose by the following Trustees: 


C. WiLL1AM BERGNER C. Hartman KuHN 
JouN H. ConvERsE Stmon A. STERN 
SAMUEL A. CROZER James F. SuLtitivan 
GrorGceE W. Cuitps DREXEL Tuomas B. WANAMAKER 


CHARLES C. HARRISON 


or their successors. The discretion of such Trustees shall be absolute as 
regards the administration of the fund, and they shall have power to 
fill any vacancy occurring in their number, they having agreed to abide 
by the conditions herein stated. 

The Trustees shall invest $200,000 of the fund, using only the interest 
thereof and the additional $50,000 shall be used for current expenses of 


the first few years, when the expenses will be heavier and the deficit 
greater. 


[244 | 


3. The orchestra shall be composed, first, of the best musicians resi- 
dent in Philadelphia; then, of the best musicians obtainable either in 
this country or abroad. In order to insure the success of the enterprise, 
it is absolutely necessary that the highest standard be maintained, that 
the reputation of the orchestra can be established in other cities beside 
our own, for it is not possible for an orchestra to become self-supporting 
that cannot command engagements outside the city to which it belongs. 


4. The Board of Trustees, when it considers that the completion of 
the fund is assured, shall select the leader upon the careful and unbiased 
consideration of the merits and records of all candidates submitted to it. 
Such candidates, however, to be only men of the highest reputation 
either in Europe or America, and the leader one whose name will add 
to the prestige of the orchestra both here and in other cities. 


5. The selection and placing of the musicians shall be made by the 
leader, subject to conditions in paragraph three. 


6. As the subscribers contribute to the fund solely for the benevolent 
purpose of advancing the cause of music in Philadelphia and release all 
control over said fund, they shall not be considered as partners with 
each other, or with the Trustees in the conduct or management of said 
orchestra. 


7. The Board of Trustees shall never exceed nine in number. 


8. Subscribers to the permanent fund shall have choice of seats in 
advance of the general public for all Symphony Concerts. 

The Committee earnestly requests all who are interested and who will 
aid them by subscribing to the Fund, to kindly give the matter their 
prompt attention, and send in any subscription or communication as 
soon as possible, for if the Orchestra is to be established by next season, 
it is necessary to push matters without delay. 


CoMMITTEE 

Philadelphia Permanent Orchestra* 
Miss Batcu Miss Mary Moss 
Mrs. WiLL1AM BuRNHAM Mrs. CLEMENT B. NEwso.tp 
Mrs. Louis F. BENson Mrs. CHarces Pxuatt, Jr. 
Miss BriGHT Mrs. JoHN WILLIAMS PATTEN 
Mrs. Georce W. C. DrexeEL Miss EtuHer ParrisH 
Mrs. CHANCELLOR C. ENGLISH Mrs. W. H. H. Rosinson 
Mrs. Simon B. FLEISHER Mrs. CorNELIUS STEVENSON > 
Miss M. K. Gipson Mrs. C. Morton SMITH 
Mrs. ALFRED C. Harrison Miss Susan STEVENSON 
Mrs. JoHN Harrison Mrs. Monroe SMITH 
Mrs. Epwarp IuNGERICH KEFFER Mrs. JoHN THoMpPsON SPENCER 
Mrs. JoszpH Lerpy, JR. Mrs. WILLIAM PENN TROTH 
Mrs. Wiiit1am L. McLEAN Miss Frances WIsSTER 
Miss ApA ExizABeETH MILES Mrs. Cuarwzes 8S. WHELEN 


Miss Evita Lez Hutcuinson, Secretary, 1936 Wallace Street 


*The officers were: Chairman, Mrs. W. H. H. Robinson; Treasurer, Mrs. Edward I. Keffer; 
Secretary, Miss Edith Lee Hutchinson. 


[245 ] 


ENDORSERS 


Mr. and Mrs. W. W. Arnett Miss Margaret Harvey 

Mr. Francis R. Abbott Mr. Ellis Clarke Hammann 
Mr. and Mrs. Samuel T. Bodine Mr. Alfred Curtin Hirsh 

Mr. Richard S. Brock Mr. Max Heinrich 

Mr. James M. Beck Mr. Samuel B. Huey 

Mrs. William Bucknell Mr. James Hay 

Mr. and Mrs. James M. Bennett Mr. H. H. Hallowell 

Mr. Henry C. Blair Mr. John H. Ingham 

Mr. David Bispham Mrs. Charles E. Ingersoll 
Miss Emma M. Boyles Mr. Henry McKean Ingersoll 
Dr. Edward Brooks Miss Hilda Justice 

Blasius & Sons Mr. J. George Klemm 

Mr. Charles A. Braun Dr. Edward Iungerich Keffer 
Mrs. M. M. Baltz Mr. and Mrs. J. L. Ketterlinus 
Mr. Samuel Castner, Jr. Mr. and Mrs. George B. Kester 
Mr. Richard Y. Cook Miss Florence Keen 

Mrs. Edward H. Coates Mr. Edward Knapp 

Mrs. J. Gardner Cassatt Mr. and Mrs. Arthur Lea 
Mrs. Edward Coles Mr. August B. Loeb 

Mrs. William T. Carter Mr. Algernon Sidney Logan 
Mr. Harrison K. Caner Mr. and Mrs. Thomas McKean 
Mr. and Mrs. W. W. Curtin Mrs. Henry Pratt McKean 
Miss Mary M. Cohen Mr. Edward Garrett McCollin 
Mr. and Mrs. J. deW. Cookman Mr. James C. Miller 

Dr. Hugh A. Clarke Mr. Selden Miller 


Mr. Gilbert Raynolds Combs Miss Alice Lewis Murphy 
Mr. and Mrs. Frederick S. Dickson Miss Agnes Morrison 


Mr. F. T. Sully Darley Mr. and Mrs. Harrison S. Morris 
Mr. Frederick Douredoure Mr. Charles T. Murphy 

Mr. and Mrs. Stephen P. Darlington Mr. Frederick R. Meigs 

Mr. Nicholas Douty Mrs. Markoe 

Mr. William L. Elkins Miss Helen L. Murphy 

Mr. Carl Edelheim Mrs. J. P. Merion 

Mr. Chancellor C. English Miss Mary Wanamaker Miller 
Mr. Henry Erben Miss Adelaide Madeira 

Mrs. Charles Este Mr. Edmond Morris 

Mrs. George Harrison Fisher Mr. G. Heide Norris 

Mr. and Mrs. Caleb Fox Mr. Charles E. Pugh 

Mr. and Mrs. George C. Fletcher Miss Marie Virginia Peck 

Mr. Charles N. Fahnestock Mr. Charles R. Peck 

Mr. Charles Fearon Mrs. Frank Pleasanton 

Miss Elizabeth Wilson Fisher Mrs. John Worrell Pepper 

Mr. and Mrs. W. W. Gibbs Mr. Frederick Peakes 

Mr. and Mrs. Wm. B. Gough Mr. Enoch Pearson 

Mrs. J. Ernest Goodman Mr. Joseph Rosengarten 

Mr. W. W. Gilchrist Mrs. Frank H. Rosengarten 
Mrs. Charles W. Henry Dr. J. M. Reeves 

Mr. and Mrs. Byerly Hart Mr. and Mrs. Richard Rossmaessler 
Mr. Edward I. H. Howell Mrs. Harry B. Rosengarten 


[246 ] 


Dr. Henry C. Register Mrs. Eliza D. Turner 


Miss Elsé West Rulon Mr. S. S. Thompson 
Mrs. Thomas A. Scott Mr. and Mrs. W. H. Tenbrook 
Mr. Justus C. Strawbridge Mr. Louis C. Whitney 
Mr. N. A. Stout Mr. and Mrs. Owen Wister 
Mr. Monroe Smith Dr. George Woodward 
Mr. and Mrs. John Hasletine Shinn Mr. Massah M. Warner 
Mr. A. M. Sheppard Mr. Clarence Wolf 
Mr. Calvin Mason Smith Miss Woolman 
N. Stetson & Co. Mr. Albert B. Weimer 
Mr. Constantin von Sternberg Mrs. Wm. Rotch Wister 
Mr. Frank Thomson Mr. Andrew Wheeler, Jr. 
Mr. George C. Thomas Mr. E. Burgess Warren 
Mrs. Charles Newbold Thorpe Mr. P. A. B. Widener 
Miss Kate Tilge Mr. Richard Zeckwer 

The following members of the Board of the Musical Fund Society: 
Mr. Wo. F. Bippie Mr. Geo. P. KimBaty 
Mr. O. C. BosBysHELL Dr. ALFRED C. LAMBDIN 
Mr. Joun H. Carr Mr. Epw. G. McCo.iin 
Mr. H. G. Cray Mr. R. P. Rosins 
Dr. Ricnarp J. DuNGLIsON Mr. Cuartes M. Scumitz 
Mr. Jas. W. HazLenurst Mr. CuHaruzs P. TurNER 
Mr. Wo. H. Hottis Mr. C. WETHERILL 


Manuscript SociETY OF PHILADELPHIA 
W. W. Gitcarist, President 


Tue SympHony Society oF PHILADELPHIA 


Dr. E. I. Kerrer, President 


A Philadelphia newspaper 1899: 
‘“‘How To Get AN ORCHESTRA” 


“It need not be difficult in Philadelphia to form as fine an orchestra as 
anybody is willing and able to pay for. A permanent orchestra is a very 
costly institution. It involves the permanent employment of anywhere 
from fifty to a hundred good musicians, at salaries sufficient to secure 
their constant and exclusive services as orchestra players throughout 
the active portion of the year. A simple calculation will show that 
the expense of this mounts quickly by tens of thousands. 

“Even in a great city, with a very large public interested in orchestral 
music, it is scarcely possible to meet this expense by the receipts from 
local concerts. There is a limit to the number of concerts that can be 
prepared or that can find hearers in one place, so that a large fixed 
orchestra can hardly earn its living—unless in some great place of 
popular resort, like the Crystal Palace at London or the Trocadero at 
Paris. Boston, an exceptionally self-reliant metropolis, provides two 
full audiences a week for the symphony concerts in Music Hall for 


[247 ] 


twenty-four weeks in the year, but it is known that this does not meet 
the expense of the orchestra. Experience furnishes no evidence of any 
such hunger for orchestral music among the general public of Philadel- 
phia as would justify a reliance on its financial support for an orchestra 
of the class of that which private generosity has maintained at Boston 
and that has established a standard with which, as a business enter- 
prise, it would be necessary to compete. 


“Clearly, therefore, such an enterprise, if undertaken here, must be 
undertaken either in a missionary spirit by those who regard music as an 
elevating influence in the community, or for their own gratification, by 
those who wish for greater musical opportunities for themselves. In 
either case, or both, the promoters must expect to pay the piper. And 
this being the case, we should say that those who pay have an entire 
tight to choose their piper—to organize their orchestra in their own 
way and put it in charge of whom they please. 


‘The discussion that has been going on recently upon this subject has 
run wide of the mark. It is not a question of the best way to organize an 
orchestra, but simply whether there is anybody ready to put up the 
money to have an orchestra at all. If there is not, the whole discussion 
is futile; if there is, we cannot see that the details concern anybody else. 
The rest of us can pay for our tickets and find fault, or we can let it 
alone, as we have done with so many excellent orchestra concerts, past 
and present. Something beside the purely musical appeal is required to 
attract an audience, very few of whom can know the actual difference 
between one band and another, except in size and in some of the more 
meretricious technical effects, and if this can be supplied by personal, 
social or fashionable interest and influence, there is that much gained. 


“It is an old rule in Philadelphia, that when anybody undertakes to 
do anything, everybody else proposes a different way. This has always 
prevented the natural development of a local orchestra, and always will 
do so as long as the matter is open to public contention. The first essen- 
tial to the establishment of a high-class orchestra is capital. If that is 
provided, the rest can be obtained, and those who provide it have the 
right to determine how to spend it, and the right also to command 
appreciation and support. Without this we can dispute till the cows 
come home with no more result than at any other time in the past forty 
years, during which time everybody has been agreed that Philadelphia 
should have such an orchestra, but no two agreed as to who should 
conduct it, or how it should be maintained.”’ 


Public Ledger, March 4, 1899: 


‘‘A PHILADELPHIA ORCHESTRA 


‘The movement which has long been on foot to establish a permanent 
symphony orchestra in this city, one which should from its inception 
challenge favorable comparison with any other orchestra in the United 
States, and one in which all who take an interest in music might feel a 
justifiable pride, has now taken such definite shape that its accomplish- 
ment is practically assured. 


[248 | 


‘A perusal of the prospectus of the Philadelphia Permanent Orchestra 
which was issued yesterday by the committee who have piloted the 
undertaking into its present haven, and which will be ati published 
in full on another page, shows that a paid-up fund of $250,000 is neces- 
sary for the work in hand. All who are interested in the civic progress 
of the city, and those in particular who are interested in music, are 
invited to contribute to the fund. 

“The details of the scheme speak for themselves, but the pith of the 
understanding is that $200,000 of the fund shall be permanently invested 
and the interest used for the advancement of the orchestra, while the 
$50,000 cash balance is to be devoted to the current expenses of the first 
few years. Preference is to be given to musicians resident in Philadel- 
phia, and the Board of Trustees is to select the leader from conductors 
of acknowledged reputation at home or abroad. 

‘That such an institution will be of great and permanent value to the 
city, there can be no possible doubt. A symphony orchestra of the calibre 
proposed ts as essential to the musical taste of the rising generation as a 
well endowed public library is to their literary education. Without an 
acknowledged standard to judge by, musical taste and musical judg- 
ment become chaotic, and degenerate by feeding without discrimination 
on what is inferior. 

“That such an organization will draw full houses, those who have 
seen the Academy packed to the ceiling at every concert given by the 
Boston Symphony Orchestra will not doubt, and the fact that Philadel- 
phia has enabled a grand opera company of the first magnitude to give 
an extended season here with a large margin of profit for the past two 
years, is another demonstration of the existence of a large musical pub- 

lic. It must be admitted that the musical public of Philadelphia 1s 
peculiar in some respects; it has a rooted antipathy to mediocrity and an 
invincible dislike of being managed from New York. But the public 
know what they want. They have long wanted an orchestra—a real 
orchestra—of their own. Various obstacles have cropped up from time 
to time in the way, but the last one—the war with Spain—no longer 
exists; the way has been cleared and the time is ripe for the accomplish- 
ment of its desire. 

“The names of the committee who will direct the affairs of the orches- 
tra are substantial guarantees of an able, impartial and business-like 
administration of its affairs, and the names of those who have endorsed 
it financially, a list that will be doubled and trebled in a few days, are 
certain indications that the orchestra will shortly be an accomplished 
6 a ey 


[249 ] 


ApPENDIx N 


LITERATURE OF Earzty Days 


First CirncuLAR ANNOUNCING THE PHILADELPHIA ORCHESTRA 
MAILED IN SEPTEMBER, 1900, TO ABOUT 4000 PEOPLE 


THE PHILADELPHIA ORCHESTRA 
85 Performers 
Mr. Fritz ScHEeL, Conductor 


A series of six Symphony Concerts will be given at the Academy of 
Music during the season of 1900-1901, on the following dates: Friday 
evening, November 16; Friday evening, December 14; Friday evening, 
January 18; Friday evening, February 8; Wednesday evening, March 6; 
Friday evening, April 19. | 

Soloists of the first rank will assist at the concerts, and names will be 
announced as soon as pending engagements have been made. 

The prices of season tickets, with reserved seats to the six concerts, 
ate: Boxes with six seats $75; boxes with four seats $50; other seats $8, 
$6 and $4; proscenium boxes on application. 

Sale of seats to holders of Patronesses’ Cards will begin at Miss 
Harris’s office, No. 1115 Chestnut Street, on Wednesday morning, 
October 10, at 9 o'clock. 

The series announced above is the outgrowth of two Symphony Con- 
certs given last winter for the benefit of sufferers by the Philippine War. 
The committee in charge was the auxiliary to the committee of ladies 
who supervised the Philippine concerts, and it is intended that the man- 
agement of the series of the coming season shall be generally the same. 
To cover expenses of the concerts a guarantee fund has been subscribed, 
the amount of which is sufficient to meet the requirements of the present 
undertaking; but it is hoped that our people will give the concerts such 
liberal support as to prevent a deficit at the end of the season. 

* * KF K 

The Philippine concerts paige the availability of many of our resi- 
dent musicians for work of the highest grade, and the committee has 
undertaken the task of organizing this series of concerts because it 
believes that with a sufficient number of rehearsals, under capable direc: — 
tion, our home players will be able to render great orchestral composi- 
tions efficiently and acceptably. 

Mr. Scheel will insist upon frequent and thorough rehearsals of the 
music; and no labor nor expense will be spared to make the work of 
preparation complete and the musical results wholly satisfactory. 

he committee feels, however, that without a widely spread interest 
among the people of Philadelphia, its chief object would not be realized. 
That object is largely to promote the musical culture of the city, and to 
improve its status as a center of musical effort. Therefore, an appeal is 


[250 ] 


made to every Philadelphian who understands what this undertaking 
may mean to the city’s future musical life for active interest and 
co-operation. 

Most useful help can be given to the movement by making its object 
known to friends and acquaintances; all personal effort will be an effec- 
tive aid to the committee’s work. 

Whether or not the receipts equal the expenses of the concerts, it is 
the hope of the committee that this movement for music in Philadelphia 
will receive hearty encouragement and support from every one who has 
a pride in the city’s artistic life. 

Committee: 
Henry WHELEN, JR. 
Joun C. Sims 
Epwarp G. McCotiin 
Oscar A. KNIPE 
Dr. Epwarp I. Kerrer 
Ouiver Boyce Jupson 
Joun H. Incuam, Secretary, 
508 Chestnut Street, 


CircuLtaArR LetreR MAILED To PATRONEssEs WHO Hap Nor 
PurcHaseD Tickets ABout TEN Days BErorzE SALE 
To Pusric, OcroBEr, 1900: 


THE PHILADELPHIA ORCHESTRA 
85 Performers 
Mr. Fritz Scneet, Conductor 


The Management of the Philadelphia Orchestra wishes to inform 
those interested in the concerts that the sale of season tickets has pro- 
gressed most favorably. Of the forty-nine boxes forty-one have been 
sold, and about thirteen hundred seats have been taken. There now 
remain unsold but 140 seats in the Parquet, 103 in the Parquet Circle 
and 76 in the Balcony. Prompt application at Heppe’s Piano Rooms, 
1115 Chestnut Street, will be necessary to secure choice places. Should 
these seats be disposed of, there will, of course, be no sale of reserved 
seats for single concerts. 

Such wide-spread support is the best proof that the public of Phila- 
delphia has undoubted faith, not only in the musical ability of Mr. 
Scheel and his men, but also in the value of this effort to advance the 
cause of orchestral music in our community. The attitude of the musical 
profession toward the project is clearly set forth in the enclosed circular. 


Committee: 
Henry WHELEN, JR. 
Joun C. Sims 
Epwarp G. McCotiin 
Oscar A. KNIPE 
Dr. Epwarp I. Kerrer 
Otiver Boycr JuDson 
Joun H. IncHam. 


[251] 


CircuLar Issuep ABout OcTOBER 15, 1900, FOR PREss AND FOR 
SOLICITING PATRONESSES, TO BE ENCLOSED 
Wit OTHER LITERATURE: 


THE PHILADELPHIA ORCHESTRA 
Mr. Fritz Scueei, Conductor 


Believing that the public would be glad to hear what the Musical 
Profession in Philadelphia thinks of this undertaking, the committee in 
charge has written to a few of the leading musicians, asking for their 
views. Extracts from their replies are given below. 

The intelligent and keen critical standpoint from which their life's 
training enables them to judge, gives weight to their words, and the 
complete unanimity of opinion which they express is noteworthy. 


From Mr. Thomas a’Becket, President, Pennsylvania State Music 
Teachers’ Association: 

“Without a doubt the best man who has taken up residence in Phila- 
delphia during the past forty years. This opinion is shared by the older 
of our orchestral musicians; also by men who have recently played 
under his conducting. It has been fully demonstrated, first, that Mr. 
Scheel has wonderful ability in handling musicians—amateur as well as 
professional—and drawing from them their best work; second, that 
there is in Philadelphia—which I have maintained for twenty-five 
years—the nucleus for a good orchestra. The great need has been the 
proper man to bring together conflicting elements. (The movement) 
has, indeed, my heartiest support.’’ 


From Dr. Hugh A. Clarke, Professor of Music, University of Pennsyl- 


vania: 


“I believe Mr. Scheel to be a leader of first-rate ability in every 
respect. His work during the past winter gives ample evidence of his 
high standing as a musician and a conductor. The movement for the 
establishment of an orchestra in Philadelphia has my most cordial sup- 
port, as I am convinced that it has now taken the right shape and is in 
the hands of the right people.”’ 


From Mr. W. W. Gilchrist, Principal of the Central Conservatory of 
Music, Leader of the Mendelssohn Club, Leader of the Harrisburg 
Oratorio Society, etc.: 


‘‘Those in whose judgment I have confidence speak very highly of him. 
The movement has my cordial support.”’ 


From Dr. Alfred C. Lambdin, Musical Editor, of ‘“The Philadelphia © 
Times.” 


‘To the broad musical knowledge, the imaginative perception, the 
technical accomplishment that makes up the interpretive artist of high 
tank, he seems to add those peculiar personal qualities, the power of 
expressing his musical ideas through the medium of others, that differ- 
entiate the real ‘conductor.’ The value of such a man in any musical 


ers 


community 1s measured only by his opportunity. The great value of 
Mr. Scheel’s work this winter has been in the fresh and full artistic 
authority, which he has brought to bear upon our disorganized musical 
forces here. The two concerts at the Academy abundantly demon- 
strated what can be done under such leadership and how it can be done. 
The movement, therefore, to continue that work, and develop it on the 
lines already laid down, commands my most cordial support.’’ 


From Mr. D. D. Wood, Organist of St. Stephen’s Church, Instructor 
at Philadelphia Musical Academy, Teacher of Harmony, Counterpoint, 
Rte: 

“Mr. Scheel is possessed of all those rare qualifications which go to 
make up a great leader. 

“He is most excellent musician of large and varied experience, an 
earnest and conscientious worker, a man of great personal magnetism, 
and thoroughly capable of making the very best of the means at his 
disposal. As a conductor he deserves a place in the very first rank. 

‘The work accomplished by Mr. Scheel during the past winter has 
been eminently successful, and deserves the cordial recognition of all 
true lovers of musical art, and of all who are interested in the progress 
of that art in our city. 

‘IT am in hearty sympathy with the movement set forth in your 


citcular.’’ 


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~ GETTY CENTER LIBRARY 


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ACTS 
CT 5468 





